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拍品專文
The present work was executed after Rottmann's first trip to Italy in 1826-27. Journeys to the South were considered part of any Northern artist's education. In the spring of 1826 Rottmann travelled with the lithographer Friedrich Hohe (1802-70) through the St. Bernhard's Pass, Switzerland and reached Milan after 7 days. From there he travelled to Rome and Genoa.
Rottmann was very impressed with the Italian landscape: "... alle Vorstellungen die ich mir auch davon machte, werden von der Wirklichkeit berflgelt, es ist eine so ganz andere Welt, in allem von unserem Lande so sehr verschieden dass ich oft meine die Gegenwart wäre mir entrckt, und befände mich im Lande der Trame..." (E. Bierhaus Roediger, op. cit, p. 35-36).
Rottmann travelled to Sicily after he received confirmation from King Ludwig I to execute a landscape in the area of Palermo. From a letter he wrote to a friend we know that he stayed in Taormina for two days.
His Sicilian sojourn was full of incident: his luggage was stolen, there was an earthquake in Palermo and he fell from his horse three times.
The position chosen by Rottmann to paint the present view of Taormina is unusual: other artists normally portrayed the theatre ruins in the foreground as the focal point of their composition. It is almost certain that Rottmann's composition derives from Carl Ludwig Frommel's painting of 1824, which is extremely similar in composition. We can only guess whether and where Rottmann may have seen the work by Frommel, possibly he saw the composition in sepia in the Karlsruher exhibition of 1825 or in the engraving which Frommel executed circa 1827-28.
The present work is very similar to two other major views of Taormina: one, and the largest of the three versions, is housed in the Neue Pinakothek, Munich; the second has sadly been lost but was mentioned in Schorn's Kunstblatt reviewing the Grosse Kunstausstellung in 1829, although it was not exhibited there.
Rottmann was very impressed with the Italian landscape: "... alle Vorstellungen die ich mir auch davon machte, werden von der Wirklichkeit berflgelt, es ist eine so ganz andere Welt, in allem von unserem Lande so sehr verschieden dass ich oft meine die Gegenwart wäre mir entrckt, und befände mich im Lande der Trame..." (E. Bierhaus Roediger, op. cit, p. 35-36).
Rottmann travelled to Sicily after he received confirmation from King Ludwig I to execute a landscape in the area of Palermo. From a letter he wrote to a friend we know that he stayed in Taormina for two days.
His Sicilian sojourn was full of incident: his luggage was stolen, there was an earthquake in Palermo and he fell from his horse three times.
The position chosen by Rottmann to paint the present view of Taormina is unusual: other artists normally portrayed the theatre ruins in the foreground as the focal point of their composition. It is almost certain that Rottmann's composition derives from Carl Ludwig Frommel's painting of 1824, which is extremely similar in composition. We can only guess whether and where Rottmann may have seen the work by Frommel, possibly he saw the composition in sepia in the Karlsruher exhibition of 1825 or in the engraving which Frommel executed circa 1827-28.
The present work is very similar to two other major views of Taormina: one, and the largest of the three versions, is housed in the Neue Pinakothek, Munich; the second has sadly been lost but was mentioned in Schorn's Kunstblatt reviewing the Grosse Kunstausstellung in 1829, although it was not exhibited there.