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Ariccia - I
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"Wilson and Europe 2014 " Is linked to these Works of Art
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Ariccia - I
Credit Line
Tate, London 2014
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Artist
Richard Wilson (1713/14-1782)
Title
Ariccia - I
Date
c.1752-56 (undated)
Medium
Oil on canvas
Dimensions
49.6 x 63.5 cm
Dimensions
19 1/2 x 25 in.
Details
Links
Collection
Tate, London. To license image, click here.
Accession Number
N01097
Wilson Online Reference
P46
Description
On the left a road runs uphill through a dark wood towards a distant convent [?]. On the right is a rocky outcrop with a cave below. Three figures have stopped at a rock to its left and are bathed in light, which also illuminates the outcrop. A dead tree lies in the right foreground and the scene is set against a bright cloudy sky above.
On the left a road runs uphill through a dark wood towards a distant convent [?]. On the right is a rocky outcrop with a cave below. Three figures have stopped at a rock to its left and are bathed in light, which also illuminates the outcrop. A dead tree lies in the right foreground and the scene is set against a bright cloudy sky above.
Exhibited
Provenance
Captain Hamilton sale, bt <span class="underline">Thomas Hollis</span> (£10.10s.); presented by Thomas Hollis to the British Museum, 8 May 1761; transferred 1880 with three other pictures and presented by the Trustees of the British Museum to the National Gallery; transferred to Tate Gallery
Captain Hamilton sale, bt
Thomas Hollis
(£10.10s.); presented by Thomas Hollis to the British Museum, 8 May 1761; transferred 1880 with three other pictures and presented by the Trustees of the British Museum to the National Gallery; transferred to Tate Gallery
Signature/inscription
Signed in monogram to right of boulder, right side: RW [R in reverse]; no inscription
Signed in monogram to right of boulder, right side: RW [R in reverse]; no inscription
Techniques and materials
Collectors' marks
Verso inscriptions
Mount inscriptions
Labels
Subject
Located between the lakes of Nemi and Albano on the Via Appia Nuova, south-east 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 Gaspard Dughet (1615-1675). whom Wilson greatly admired.
Located between the lakes of Nemi and Albano on the Via Appia Nuova, south-east 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 Gaspard Dughet (1615-1675). whom Wilson greatly admired.
Related Subjects
Related Drawings
D224 <i>View at Ariccia, near Albano</i>, Fitzwilliam Museum, Cambridge D282 <i>A Church at Ariccia</i>, Private Collection, England D282A <i>Landscape near Rome</i>, Birmingham Museums & Art Gallery D326 <i>Ariccia near Rome</i>, The British Museum (1881,0212.24)
D224
View at Ariccia, near Albano
, Fitzwilliam Museum, Cambridge
D282
A Church at Ariccia
, Private Collection, England
D282A
Landscape near Rome
, Birmingham Museums & Art Gallery
D326
Ariccia near Rome
, The British Museum (1881,0212.24)
Related Prints
E72/11 Thomas Hastings after Wilson, <i>View of Lareci near Rome</i>, The British Museum (1854,0708.68) and other impressions
E72/11 Thomas Hastings after Wilson,
View of Lareci near Rome
, The British Museum (1854,0708.68) and other impressions
Versions
See 'Links' tab
See 'Links' tab
Related Paintings
P87 <i>Ariccia - II</i>, Collection of the Earl of Pembroke, Wilton House, Wiltshire
P87
Ariccia - II
, Collection of the Earl of Pembroke, Wilton House, Wiltshire
Related Works by Other Artists
Gaspard Dughet, <i>Landscape in the Roman Campagna</i>, c.1670 (probably in Corsini collection, Rome, by 1787), National Gallery, London (NG 68)
Gaspard Dughet,
Landscape in the Roman Campagna
, c.1670 (probably in Corsini collection, Rome, by 1787), National Gallery, London (NG 68)
Critical commentary
On 26 October 1761 Thomas Hollis wrote in his Diary: 'Mr Wilson, the Landskip Painter breakfasted with me, and thanked me, handsomely, for having presented a Landskip picture of his, which I had bought at Capt. Hamilton's sale of pictures [Prestage & Hobbs, 21 February 1761 (42)] for £10-10. to the British Museum.' P46 differs from P46A and P46B in having figures grouped in the centre foreground rather than at the mouth of the cave, and in the absence of a prominent milestone.
On 26 October 1761 Thomas Hollis wrote in his Diary: 'Mr Wilson, the Landskip Painter breakfasted with me, and thanked me, handsomely, for having presented a Landskip picture of his, which I had bought at Capt. Hamilton's sale of pictures [Prestage & Hobbs, 21 February 1761 (42)] for £10-10. to the British Museum.'
P46 differs from P46A and P46B in having figures grouped in the centre foreground rather than at the mouth of the cave, and in the absence of a prominent milestone.
Previous Cat/Ref Nos
Bibliography
T. Hollis, unpublished <i>Diary</i>, 26 October 1761; <i>Memoirs of Thomas Hollis</i>, 1780, I, 222; WGC, p. 193, under pl. 67b; Solkin 1982, under 89; Wilson and Europe 2014, fig.66
T. Hollis, unpublished
Diary
, 26 October 1761;
Memoirs of Thomas Hollis
, 1780, I, 222; WGC, p. 193, under pl. 67b; Solkin 1982, under 89; Wilson and Europe 2014, fig.66
Link to WG Constable Archive Record
<a href="http://calmview.co.uk/paulmelloncentre/calmview/Record.aspx?src=CalmView.Catalog&id=WGC%2f1%2f1%2f78" title="WGC/1/1/78" class="rewritten">WGC/1/1/78</a>
WGC/1/1/78
Location featured in work
More Information
Condition/Conservation
Dimensions in frame: 63 x 78 cm. In poor condition. Foreground is covered with severe cracking apparently due to the use of a bituminous earth varnish. Visual examination and sampling by Ann Baxter in 1982, who noted: 16 x 20 threads per sq cm. The outline of the right-hand tree has been changed. Two distinct layers of highly pigmented blue were found in the sky, an upper one of fine ultramarine and a lower one of Prussian blue. The red ground is probably the artist's priming, containing red earth, white and black. Overall tonality is very dark. Attribution to Wilson questioned despite the signature. Kate Lowry has noted: Linen canvas with unusual weave similar to P60 <i>Temple of the Minerva Medici</i>, Private Collection, England. Red ground, probably the artist's own priming.
Dimensions in frame: 63 x 78 cm. In poor condition. Foreground is covered with severe cracking apparently due to the use of a bituminous earth varnish.
Visual examination and sampling by Ann Baxter in 1982, who noted: 16 x 20 threads per sq cm. The outline of the right-hand tree has been changed. Two distinct layers of highly pigmented blue were found in the sky, an upper one of fine ultramarine and a lower one of Prussian blue. The red ground is probably the artist's priming, containing red earth, white and black. Overall tonality is very dark. Attribution to Wilson questioned despite the signature.
Kate Lowry has noted: Linen canvas with unusual weave similar to P60
Temple of the Minerva Medici
, Private Collection, England. Red ground, probably the artist's own priming.
Illustrations of the Work
Updated by Compiler
08/02/2021
08/02/2021
Work of Art
Drawings
View at Ariccia, near Albano
, Fitzwilliam Museum, Cambridge
A Church at Ariccia
, Private Collection, England
Landscape near Rome
, Birmingham Museums & Art Gallery
Ariccia near Rome
, The British Museum
Prints
Thomas Hastings after Wilson,
View of Lareci near Rome
, The British Museum
Versions
Richard Wilson (1713/14-1782)
Ariccia - I (La Riccia, near Albano, Italy)
, Gloucester City Museum and Art Gallery
Richard Wilson (1713/14-1782)
Ariccia - I
, Private Collection, England
Paintings
Ariccia - II
, Collection of the Earl of Pembroke, Wilton House, Wiltshire
Exhibitions
Biographies
Thomas Hollis, 1720-1774
Documents
William George Constable,
Richard Wilson
David Solkin,
Richard Wilson: The Landscape of Reaction
Martin Postle & Robin Simon,
Richard Wilson and the Transformation of European Landscape Painting
Part of a sketchbook
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