Jump to the content
Register
Log in
Advanced Search
Works of Art
Biographies
Exhibitions
Bibliographical Resources
Main
Home
Paintings
Drawings
Prints
Browse All Works
Wilson Collections
Wilson Collections Map
Tercentenary Exhibition
Other Exhibitions
Project Highlights
Themes and Media
Biographies
Bibliographical Resources
The Aviaries of the Farnese Gardens on the Palatine, Rome
You searched for:
"Tercentenary 2014" Is linked to these Works of Art
95 Items
No items selected
1
89
90
91
92
93
94
95
The Aviaries of the Farnese Gardens on the Palatine, Rome
Credit Line
Foto: Staatsgalerie, Stuttgart
Larger Image
Select Item
Email Link
Print
Feedback
Artist
Richard Wilson (1713/14-1782)
Title
The Aviaries of the Farnese Gardens on the Palatine, Rome
Date
c.1752 (undated)
Medium
Black chalk and white heightening on prepared paper tinted with wash
Dimensions
203 x 264 mm
Dimensions
8 x 10 1/2 in.
Details
Links
Collection
Staatsgalerie, Stuttgart. To license image, click here.
Accession Number
C2143
Wilson Online Reference
D212
Description
The view, recently identified by Robin Simon, shows the upper level of the terraced gardens of the Villa Farnese (<i>Orti Farnesiani</i>) on the Palatine Hill, Rome, with two aviaries. It is taken from the direction of the Forum, looking towards the terrace of the <i>Fontanone</i> (Great Fountain) which, in Wilson's drawing, is obscured by foliage.
The view, recently identified by Robin Simon, shows the upper level of the terraced gardens of the Villa Farnese (
Orti Farnesiani
) on the Palatine Hill, Rome, with two aviaries. It is taken from the direction of the Forum, looking towards the terrace of the
Fontanone
(Great Fountain) which, in Wilson's drawing, is obscured by foliage.
Exhibited
Tercentenary 2014 (30)
Tercentenary 2014 (30)
Provenance
One of a number of drawings by or from the collection of Adolf Friedrich Harper that came to the Staatsgalerie Stuttgart
One of a number of drawings by or from the collection of Adolf Friedrich Harper that came to the Staatsgalerie Stuttgart
Signature/inscription
Unsigned; no inscription
Unsigned; no inscription
Techniques and materials
The paper is nearly identical in size to two sheets of Wilson's in the Tate, D122 <i>The Aqueduct of Nero</i> and D123 <i>View from the Capitol</i>, dating from no later than 1752 and both views in Rome drawn in black chalk with white highlights on paper similarly prepared with wash. Their wash, however, is laid downwards, parallel to the shorter edge of the paper and thus at right angles to that in the present drawing. Robin Simon has remarked that the technique of all three is that of an early stage during Wilson's adoption of the contemporary French manner of drawing with black chalk on toned paper.
The paper is nearly identical in size to two sheets of Wilson's in the Tate, D122
The Aqueduct of Nero
and D123
View from the Capitol
, dating from no later than 1752 and both views in Rome drawn in black chalk with white highlights on paper similarly prepared with wash. Their wash, however, is laid downwards, parallel to the shorter edge of the paper and thus at right angles to that in the present drawing. Robin Simon has remarked that the technique of all three is that of an early stage during Wilson's adoption of the contemporary French manner of drawing with black chalk on toned paper.
Collectors' marks
Verso inscriptions
Mount inscriptions
Labels
Subject
In 1550, Cardinal Alessandro Farnese acquired a northern portion of the Palatine Hill, where he had ruins from a Roman palace of Tiberius filled in and a summer residence built. The site overlooks the Roman Forum and is near the Arch of Titus. The garden was divided into quadrants with a fountain at its centre and arranged in terraces. Steps from terrace to terrace ran past the <i> Ninfeo della Pioggia</i> (a nymphaeum) to end in the <i>Teatro del Fontanone</i>. Aviaries were constructed above its two upper pavilions. These aviaries also appear in Giuseppe Vasi's <span class="italic">Delle Magnificenze di Roma</span> (vol. 10, 1761, plate 197) and were drawn by Fragonard at about the same time.
In 1550, Cardinal Alessandro Farnese acquired a northern portion of the Palatine Hill, where he had ruins from a Roman palace of Tiberius filled in and a summer residence built. The site overlooks the Roman Forum and is near the Arch of Titus. The garden was divided into quadrants with a fountain at its centre and arranged in terraces. Steps from terrace to terrace ran past the
Ninfeo della Pioggia
(a nymphaeum) to end in the
Teatro del Fontanone
. Aviaries were constructed above its two upper pavilions. These aviaries also appear in Giuseppe Vasi's
Delle Magnificenze di Roma
(vol. 10, 1761, plate 197) and were drawn by Fragonard at about the same time.
Related Subjects
Related Drawings
Related Prints
Versions
Related Paintings
Related Works by Other Artists
[1] Giuseppe Vasi, <i>Delle Magnificenze di Roma</i> (Rome, vol. 10, 1761, plate 197) [2] Jean Honoré Fragonard (J. Cailleux, <i>Rome 1760-1770: Fragonard, Hubert Robert et leurs Amis</i>, exhibition catalogue, Galerie Cailleux, Paris, 1983, nos. 23 and 24)
[1] Giuseppe Vasi,
Delle Magnificenze di Roma
(Rome, vol. 10, 1761, plate 197)
[2] Jean Honoré Fragonard (J. Cailleux,
Rome 1760-1770: Fragonard, Hubert Robert et leurs Amis
, exhibition catalogue, Galerie Cailleux, Paris, 1983, nos. 23 and 24)
Critical commentary
Wilson's drawing seems to be the first of this subject. He also drew the Ionic capitals in the Farnese Gardens in 1752 (D228 <i>Ionic Capitals</i>, Private Collection, England). As Robin Simon has noted, that drawing in turn was copied by Wilson's pupils, Johan Mandelberg and Johannes Wiedewelt, c.1755-56, and subsequently engraved by Piranesi. The prominent squared ogee constructions surmounting each pavilion in Vasi's engraving, though not obvious in Wilson's drawing, are nevertheless faintly discernible.
Wilson's drawing seems to be the first of this subject. He also drew the Ionic capitals in the Farnese Gardens in 1752 (D228
Ionic Capitals
, Private Collection, England). As Robin Simon has noted, that drawing in turn was copied by Wilson's pupils, Johan Mandelberg and Johannes Wiedewelt, c.1755-56, and subsequently engraved by Piranesi. The prominent squared ogee constructions surmounting each pavilion in Vasi's engraving, though not obvious in Wilson's drawing, are nevertheless faintly discernible.
Previous Cat/Ref Nos
Bibliography
Wilson and Europe 2014, p. 225
Wilson and Europe 2014, p. 225
Link to WG Constable Archive Record
Location featured in work
More Information
Condition/Conservation
Illustrations of the Work
Updated by Compiler
Work of Art
Exhibitions
New Haven, Yale Center for British Art & Cardiff, Amgueddfa Cymru - National Museum Wales, 6 March - 29 October 2014
Biographies
Documents
Martin Postle & Robin Simon,
Richard Wilson and the Transformation of European Landscape Painting
Part of a sketchbook
To view this image and see text below or to compare two images, click on
'larger image'
icon for a moveable window.
OK
View Selected