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Ariccia
Tate, London 2014
Richard Wilson (1713/14-1782)
Ariccia
c. 1754-56 (undated)
Black chalk, stump and graphite on grey prepared laid paper
322 x 447 mm
12 11/16 x 17 5/8 in.
T08164
D261
The view is from the north towards the Palazzo Chigi and Bernini's church of Santa Maria dell'Assunzione (before the restoration of 1771, when onion-shaped cupolas were added to the twin bell towers)
Birmingham 1948-49 (128); London 1949 (127); Sheffield 1952 (77); London 1958 (14); National Gallery of Canada 1961 (96); Amsterdam 1965 (142); London, Cardiff and New Haven, 1982-83 (55); Manchester 1988 (73); London 1997 (13); Cardiff, Manchester and London, 2003-4 (17); Tercentenary 2014 (142)
Paul Sandby; Earl of Warwick; A.G.B. Russell by 1924; A. P. Oppé, 1948; Armide Oppé; purchased as part of the Oppé Collection with assistance from the National Lottery through the Heritage Lottery Fund 1996
Unsigned; no inscription
Stump has been used to soften and smudge some of the black chalk, thus creating rich areas of tone
[1] Lower left corner: Paul Sandby (Lugt 2112)
[2] Lower left corner: A.G.B. Russell (Lugt Supplément 2770a)
Located between the lakes of Nemi and Albano on the Via Appia Nuova, southeast of Rome. Ariccia was celebrated for its groves, thought to have been the hunting-grounds of the goddess Diana. The area had been a haunt of Wilson's admired predecessor, Gaspard Dughet (1615-1675). The town was acquired by the Chigi family in 1661 and in the following year they commissioned Bernini to modernise the old palace of the Savelli, Princes of Albano, and to build a new church.
[1] John Downman (1750-1824), Chigi Park near L'Ariccia, 1773-74, Tate, London (T10175)
[2] Francis Towne (1739-1816): Ariccia, 1781, The British Museum (Nn,3.14)
[3] William Pars (1742-1782): Palazzo Chigi, Ariccia, near Albano, Victoria & Albert Museum, London
[4] John 'Warwick' Smith (1749-1831): A View of Ariccia, near Albano, Fitzwilliam Museum, Cambridge
[5] John Robert Cozens (1752-1779): Ariccia, Birmingham Museums & Art Gallery
There is some doubt as to the extent of autograph work executed on the spot in this drawing. The foreground seems much more summary than the motif of the buildings and may possibly have been added in the studio at a later stage by Wilson himself or by another hand, perhaps that of Sandby.
2358
The Connoisseur, July 1924, p. 141, pl. 5; Ford 1951, p. 61, no. 65; Solkin 1982, pp. 175-176; Hawcroft 1988, p. 66; Lyles & Hamlyn 1997, p. 62; Sumner and Smith 2003, pp. 127-128, repr.; Wilson and Europe 2014, p. 315
Ariccia, south east of Rome, Italy
09/08/2018