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Lot Essay
Peter et Samuel Birmann, dont Salathé est l'élève, il se rend à Rome en 1815. Il y reste jusqu'en 1820, date à laquelle l'artiste s'installe à Bâle avant son départ pour Paris. Les paysages italiens sont un sujet récurrent dans l'oeuvre de l'artiste et ce bien après son départ, comme l'atteste ce dessin de 1850. Il est comparable à deux dessins de paysages de forêt datés de 1848, tous deux conservés au Kupferstichkabinett de Bâle (voir Ein Zeichner Der Romantik Friedrich Salathé 1793-1858, cat. exp., Stuttgart, Staatsgalerie, 1988, nos 96 et 97).
Like many of his contemporaries, Salathé was drawn to Italy; together with Peter and Samuel Birmann, of whom Salathé was a pupil, he travelled to Rome in 1815. He would stay there until 1820, when the artist moved to Basel before staying in Paris. The Italian landscape features in drawings throughout his career, also long after the artist left the country as is attested by this drawing dated 1850. It is comparable to two wooded landscape drawings, dated 1848, both in the Kupferstichkabinett, Basel (see Ein Zeichner Der Romantik Friedrich Salathé 1793-1858, exhib. cat., Stuttgart, Staatsgalerie, 1988, nos. 96-97).
Like many of his contemporaries, Salathé was drawn to Italy; together with Peter and Samuel Birmann, of whom Salathé was a pupil, he travelled to Rome in 1815. He would stay there until 1820, when the artist moved to Basel before staying in Paris. The Italian landscape features in drawings throughout his career, also long after the artist left the country as is attested by this drawing dated 1850. It is comparable to two wooded landscape drawings, dated 1848, both in the Kupferstichkabinett, Basel (see Ein Zeichner Der Romantik Friedrich Salathé 1793-1858, exhib. cat., Stuttgart, Staatsgalerie, 1988, nos. 96-97).