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拍品專文
This view, generally known as River mouth with peasants dancing, is one of a number of versions that Wilson painted of which the pictures in the Bayerische Staatsgemaldesammlungen, Munich, and the Victoria and Albert Museum, London, are the most similar in terms of composition.
This picture was painted in the early 1770s and is generally taken to represent countryside near Naples, owing to Joseph Farington's comments when he saw this view in Richard Entwistle's collection at Ronsham in 1808. It is likely that the landscape shows the coast of Baiae, just North of Naples, renowned in the eighteenth century for the remains of antique temples, palaces and gardens. The picturesque element of the ruins had been enhanced by the earthquakes, common in that region. Furthermore, Cicero, Julius Caesar, Pliny, Augustus and Pompey had villas in Baiae, and its coastline, the Gulf of Pozznoli, had been celebrated in Virgil's Aeneid and Homer's Cimmerians.
David Solkin (Richard Wilson. The Landscape of Reaction, London, 1982, p.244) identifies this view-type as one of Wilson's 'last major articulations of a subject that had preoccupied him ever since he had visited Italy, that a calm classical order was to be found in the study and depiction of the ruins of a glorious civilisation'.
This picture was painted in the early 1770s and is generally taken to represent countryside near Naples, owing to Joseph Farington's comments when he saw this view in Richard Entwistle's collection at Ronsham in 1808. It is likely that the landscape shows the coast of Baiae, just North of Naples, renowned in the eighteenth century for the remains of antique temples, palaces and gardens. The picturesque element of the ruins had been enhanced by the earthquakes, common in that region. Furthermore, Cicero, Julius Caesar, Pliny, Augustus and Pompey had villas in Baiae, and its coastline, the Gulf of Pozznoli, had been celebrated in Virgil's Aeneid and Homer's Cimmerians.
David Solkin (Richard Wilson. The Landscape of Reaction, London, 1982, p.244) identifies this view-type as one of Wilson's 'last major articulations of a subject that had preoccupied him ever since he had visited Italy, that a calm classical order was to be found in the study and depiction of the ruins of a glorious civilisation'.