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The Cascatelle of Tivoli and Villa of Maecenas
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The Cascatelle of Tivoli and Villa of Maecenas
Credit Line
Private Collection
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Artist
Richard Wilson (1713/14-1782)
Title
The Cascatelle of Tivoli and Villa of Maecenas
Date
c.1752 (undated)
Medium
Oil on canvas
Dimensions
42 x 72 cm
Dimensions
16 1/2 x 28 3/8 in.
Details
Links
Collection
Private Collection, North America
Accession Number
Wilson Online Reference
P44B
Description
At the left an artist sits on a folding stool at a portable easel, painting the classic view of the great waterfalls and town of Tivoli, seen from across the gorge of the River Aniene with the ruins of the so-called Villa of Maecenas beyond and a vista of the Roman Campagna unfolding in the distance.
At the left an artist sits on a folding stool at a portable easel, painting the classic view of the great waterfalls and town of Tivoli, seen from across the gorge of the River Aniene with the ruins of the so-called Villa of Maecenas beyond and a vista of the Roman Campagna unfolding in the distance.
Exhibited
New York 2010 (4)
New York 2010 (4)
Provenance
Signature/inscription
Signed lower left: R.W. No inscription
Signed lower left: R.W.
No inscription
Techniques and materials
Like the version in Dublin (P44), this work is painted in an unusually broad and lively manner, especially apparent in the distant view of the Campagna where the landscape forms are only sketchily indicated. The handle of the brush was used to scratch quickly through the thinly applied wet paint, giving a sense of texture and depth. Wilson is known to have used this technique in only one other instance, P45 <span class="italic">Tivoli: The Temple of the Sibyl and the Campagna</span>, National Gallery of Ireland, acquired by <span class="underline">Joseph Henry</span> in 1752, which would suggest that this painting is of a similar early date. These technical devices suggest that the painting was executed at one sitting and at great speed in a probable attempt by the artist to capture the fading light of the sunset. The modest scale and spontaneous nature of the work also suggest that it may have been painted <i>en plein air</i>. It is known that Wilson encouraged his protégé Thomas Jones to paint in this way.
Like the version in Dublin (P44), this work is painted in an unusually broad and lively manner, especially apparent in the distant view of the Campagna where the landscape forms are only sketchily indicated. The handle of the brush was used to scratch quickly through the thinly applied wet paint, giving a sense of texture and depth. Wilson is known to have used this technique in only one other instance, P45
Tivoli: The Temple of the Sibyl and the Campagna
, National Gallery of Ireland, acquired by
Joseph Henry
in 1752, which would suggest that this painting is of a similar early date. These technical devices suggest that the painting was executed at one sitting and at great speed in a probable attempt by the artist to capture the fading light of the sunset. The modest scale and spontaneous nature of the work also suggest that it may have been painted
en plein air
. It is known that Wilson encouraged his protégé Thomas Jones to paint in this way.
Collectors' marks
Verso inscriptions
Mount inscriptions
Labels
Subject
Tivoli and its surroundings were the first topographical subjects painted by Wilson in Italy in 1752. Located about 20 miles northeast of Rome, Tivoli (known in ancient times as Tibur) was celebrated by Virgil and Horace for the spectacular beauty of its setting and from the 16th century, was renowned for its magnificent classical ruins. By Wilson's time it had become a key destination for artists and Grand Tourists and Wilson seems to have made a number of excursions there during his Roman stay. The allure of the location must have been greatly enhanced by the fact that Claude and Dughet had gone there to draw in the 17th century and had incorporated its scenery into their paintings.
Tivoli and its surroundings were the first topographical subjects painted by Wilson in Italy in 1752. Located about 20 miles northeast of Rome, Tivoli (known in ancient times as Tibur) was celebrated by Virgil and Horace for the spectacular beauty of its setting and from the 16th century, was renowned for its magnificent classical ruins. By Wilson's time it had become a key destination for artists and Grand Tourists and Wilson seems to have made a number of excursions there during his Roman stay. The allure of the location must have been greatly enhanced by the fact that Claude and Dughet had gone there to draw in the 17th century and had incorporated its scenery into their paintings.
Related Subjects
Related Drawings
D244 <i>The Falls at Tivoli</i>, Yale Center for British Art, Paul Mellon Collection
D244
The Falls at Tivoli
, Yale Center for British Art, Paul Mellon Collection
Related Prints
E75 Charles Turner after Wilson, <i>Maecenas' Villa</i>, The British Museum and other impressions E76 Charles Turner after Wilson, <i>View of Maecenas' Villa, Tivoli</i>, National Museum Wales, Cardiff
E75 Charles Turner after Wilson,
Maecenas' Villa
, The British Museum and other impressions
E76 Charles Turner after Wilson,
View of Maecenas' Villa, Tivoli
, National Museum Wales, Cardiff
Versions
See 'Links' tab
See 'Links' tab
Related Paintings
Related Works by Other Artists
[1] Thomas Jones <span class="italic">A Shepherd and Shepherdess grazing their Herd before the Cascatelle at Tivoli </span>, Bonham's London 8 December 2010 (58) [2] William Hodges, <i>The Cascatelle at Tivoli</i>, c.1775-79, John Mitchell Fine Paintings, London [3] John Plimmer, <i>Tivoli, the Cascatelle Grandi and the Villa of Maecenas</i>, Glynn Vivian Art Gallery Swansea
[1] Thomas Jones
A Shepherd and Shepherdess grazing their Herd before the Cascatelle at Tivoli
, Bonham's London 8 December 2010 (58)
[2] William Hodges,
The Cascatelle at Tivoli
, c.1775-79, John Mitchell Fine Paintings, London
[3] John Plimmer,
Tivoli, the Cascatelle Grandi and the Villa of Maecenas
, Glynn Vivian Art Gallery Swansea
Critical commentary
Wilson's close attention to nature is evident in the treatment of the sky, where the movements of the clouds and fleeting effects of the light from the setting sun have been captured with extraordinary freshness.
Wilson's close attention to nature is evident in the treatment of the sky, where the movements of the clouds and fleeting effects of the light from the setting sun have been captured with extraordinary freshness.
Previous Cat/Ref Nos
Bibliography
WGC, pp. 82, 225, under pl. 117a; P. Conisbee, 'Tivoli: The Cascatelle and the Villa of Maecenas' in <i>In the Light of Italy: Corot and early open-air Painting</i>, exh. cat., National Gallery of Art, Washington DC, 1996, p. 111; Feigen 2010, unpaginated
WGC, pp. 82, 225, under pl. 117a; P. Conisbee, 'Tivoli: The Cascatelle and the Villa of Maecenas' in
In the Light of Italy: Corot and early open-air Painting
, exh. cat., National Gallery of Art, Washington DC, 1996, p. 111; Feigen 2010, unpaginated
Link to WG Constable Archive Record
<a href="http://www.calmview2.eu/paulmelloncentre/calmview/Record.aspx?src=CalmView.Catalog&id=WGC%2f1%2f1%2f135" title="WGC/1/1/135" class="rewritten">WGC/1/1/135</a>
WGC/1/1/135
Location featured in work
More Information
Unrecorded prior to 2010 and the only version signed by the artist
Unrecorded prior to 2010 and the only version signed by the artist
Condition/Conservation
Period Italian carved and gilded frame
Period Italian carved and gilded frame
Illustrations of the Work
Updated by Compiler
Work of Art
Drawings
Richard Wilson (1713/14-1782),
The Falls at Tivoli
, Yale Center for British Art, Paul Mellon Collection, New Haven
Prints
Charles Turner after Wilson,
Maecenas' Villa
, The British Museum
Charles Turner after Wilson,
Maecenas' Villa
, The British Museum
Charles Turner after Wilson,
Maecenas' Villa
, The British Museum
Charles Turner after Wilson,
Maecenas' Villa
, National Museum Wales, Cardiff
Charles Turner after Wilson,
View of Maecenas' Villa, Tivoli
, Birmingham Museums & Art Gallery
Charles Turner after Wilson,
View of Maecenas' Villa, Tivoli
, National Museum Wales, Cardiff
Versions
Richard Wilson (1713/14-1782)
Tivoli, the Cascatelle Grandi and the Villa of Maecenas (View of Tivoli with Rome in the Distance)
, National Gallery of Ireland, Dublin
Richard Wilson (1713/14-1782)
View of Tivoli: The Cascatelle Grandi and the Villa of Maecenas
, Dulwich Picture Gallery
Exhibitions
London, Tate Gallery, Cardiff, National Museum of Wales, and New Haven, Conn., Yale Center for British Art, 3 November 1982 - 19 June 1983
New York, Richard L. Feigen & Co., 29 April - 25 June 2010
Biographies
Joseph Henry of Straffan, 1727-1796
Gaspard Dughet, 1615-1675
Documents
William George Constable,
Richard Wilson
David Solkin,
Richard Wilson: The Landscape of Reaction
Richard Feigen and Ann Guité,
Richard Wilson and the British Arcadia
Part of a sketchbook
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