CIRCLE OF XAVIER DELLA GATTA (ACTIVE IN NAPLES 1777-1829)
CIRCLE OF XAVIER DELLA GATTA (ACTIVE IN NAPLES 1777-1829)
CIRCLE OF XAVIER DELLA GATTA (ACTIVE IN NAPLES 1777-1829)
21 更多
CIRCLE OF XAVIER DELLA GATTA (ACTIVE IN NAPLES 1777-1829)
24 更多
CIRCLE OF XAVIER DELLA GATTA (ACTIVE IN NAPLES 1777-1829)

Album with Neapolitan scenes

細節
CIRCLE OF XAVIER DELLA GATTA (ACTIVE IN NAPLES 1777-1829)
Album with Neapolitan scenes
black chalk, watercolour, body colour, pen and black framing lines
album sheet: 23 x 17¾ in. (58.5 x 45 cm) ; each drawing: approx. 10½ x 8¼ in. (26.5 x 20.5 cm), fifteen drawings from the circle of Xavier della Gatta, with one drawing by François Diday, three anonymous British drawings, two topographical engravings of Naples and the island of San Secondo, and two lithographs after John Frederick Lewis

榮譽呈獻

Annabel Kishor
Annabel Kishor Specialist

拍品專文


The Della Gatta family produced a large numbers of genre scenes and costume studies in the tradition of artists including Alessandro d'Anna (1746-1810) and Pietro Fabris (active circa 1740–1804). Fabris was the first to produce such costume studies on a large scale and 34 were published in Raccolta di varii vestimenti ed arti nel Regno di Napoli (Naples, 1773). Ten years later, Xavier della Gatta and D’Anna were given a royal commission to travel through Italy to document different costume types. These drawings, often works of art in their own right, also served as model for porcelain decorations. Della Gatta enjoyed the patronage of Sir William Hamilton and other grand tourists. ‘What had begun as charming views of picnics in grottoes and views of Naples with street vendors, painted by Fabris from the 1750s through the 1770s, had become an industry where the figures were less stereotyped and more carefully studied, becoming the focus of the composition, while the landscape not only became more generalised and receded into the background, but often disappeared altogether’ (I. Jenkins and K. Sloane, Vases and Volcanoes. Sir Hamilton and his Collection, exhib. cat., London, British Museum, 1996, p. 251). This transition is particularly evident in these images, where the emphasis is completely on the costumes and the setting is of the simplest possible.


更多來自 古典大師及英國繪畫與水彩

查看全部
查看全部