Physical description
In a vertical composition, classical ruins set in a sunny landscape with a fountain and a sarcophagus, tow dogs and four male figures, two of which are climbing onto the monument.
Place of Origin
Rome, Italy (possibly)
Date
mid 18th century (painted)
Artist/maker
Giovanni Paolo Pannini, born 1691 - died 1765 (follower of, painter (artist))
Materials and Techniques
Oil on canvas
Dimensions
Height: 67.3 cm estimate, Width: 27.3 cm estimate
Object history note
Bequeathed by John Forster, 1876
Extract from Parkinson, Ronald, Catalogue of British Oil Paintings 1820-1860. Victoria & Albert Museum, HMSO, London, 1990. p.xix
John Forster (1812-1876) was born in Newcastle, the son of a cattle dealer. Educated at Newcastle Grammar School and University College London, he was a student in the Inner Temple 1828 and qualified as a barrister 1843. Began his career as a journalist as dramatic critic of the True Sun 1832; he later edited the Foreign Quarterly Review (1842-3), the Daily News (1846) and most famously the Examiner (1847-55). He was the author of numerous works, notably the Life and Adventures of Oliver Goldsmith (1848) and the Life of Charles Dickens (1872-4). He bequeathed his extensive collection of books, pamphlets, manuscripts, prints, drawings, watercolours and oil paintings to the V&A.
See also South Kensington Museum Art Handbooks. The Dyce and Forster Collections. With Engravings and Facsimiles. Published for the Committee of Council on Education by Chapman and Hall, Limited, 193, Piccadilly, London. 1880. Chapter V. Biographical Sketch of Mr. Forster. pp.53-73, including 'Portrait of Mr. Forster' illustrated opposite p.53.
Historical significance: Following in the footsteps of Gaspar van Wittel (1652/53-1736), Giovanni Ghisolfi (ca. 1623-1683) and Salvator Rosa (1615-1673), Panini devoted himself to the painting of vedute and capricci, for which he was best known. The 'capriccio', a somewhat derivation of the 'veduta', i.e. a landscape or town view that is largely topographical in conception, enabled the painter to develop further his imagination as he included in a realistic setting fantastic elements and had therefore to combine them together in an elaborate composition.
This painting bears similar characteristics with Panini's manner such as the luminous albeit cool palette enlivened with reddish brown and orange hues, the vertical composition as well as the small figures interacting with the architecture. However it was most likely executed by a follower whose brushwork betrays some weakness in the details and a loose, freer manner.
The subject matter is unclear although the two men by the fountain look like patricians, whereas the two others, poorly dressed, are opening up a sarcophagus. The theme of grave thieves (called 'tombaroli' in Italian) is quite common in this type of imagery and can be found in the works of other capricci painter such as the Venetian Francesco Guardi (1712-1793).
This picture is a good example of the kind of pictures that were particularly sought after during the 18th century: an idealised representation of Roman classical ruins in the Italian countryside with little regard for historic or geographic accuracy.
Historical context note
A 'capriccio' is a painted, drawn or engraved composition that combines imaginary and realistic architectural features in a picturesque setting, often dotted with small figures, and mostly displayed as wall schemes for interior decoration. It emerges as a genre during the early 18th-century Rococo period, and became extremely popular during the era of the Grand Tour of Europe, stimulated by the need of recording topographical settings. The Italian landscape, which abounded with classical ruins, was especially favoured for this new genre painting. It particularly developed in Venice with such artists as Marco Ricci (1676-1730) and his uncle Sebastiano Ricci (1659-1734), together with Canaletto (1697-1768), Giambattista Pittoni (1687-1767) and Giovanni Battista Piazzetta (1682-1754), and in Rome where Giovanni Paolo Panini (ca. 1692-1765) was the most representative of the 'capriccio' painters. The genre declined during the early part of the next century, gradually transformed and was eventually absorbed by the Romanticism.
Descriptive line
Oil painting, 'A Fountain with Classical Ruins', follower of Giovanni Paolo Panini, mid 18th century
Bibliographic References (Citation, Note/Abstract, NAL no)
C.M. Kauffmann,Catalogue of Foreign Paintings, I. Before 1800. London: Victoria and Albert Museum, 1973, p. 212, cat. no. 267
The following is the full text of the entry:
Giovanni Paolo PANINI (or Pannini) (1691/92-1765?)
Italian School
Born at Piacenza, from 1711 he worked under Luti in Rome. He did much decorative painting of Roman villas and palaces, and many commissions for the Cardinal de Polignac. He is one of the best-known painters of classical ruins.
Lit. F. Arisi, Gian Paolo Panini, 1961.
Follower of Giovanni Paolo PANINI
267
A FOUNTAIN WITH CLASSICAL RUINS
Canvas
26 ½ x 10 ¾ (67.3 x 27.3)
Forster Bequest
F.31
Acquired as A Fountain near Rome by Pinelli (1781-1835), this painting is in the style of caprices by Panini, such as those in the Ashmolean (L. Ozzòla, Gian Paolo Pannini, 1921, pl. 17).
From its dimensions and shape, it seems it may once have formed part of a scheme of decoration for a house.
Condition. Cleaned in 1958.
Prov. John Forster; bequeathed to the Museum in 1870.
Lit. Forster Collection catalogue, 1893, p, 4 (as by Pinelli).
Forster Collection catalogue, 1893, p, 4.
As Pinelli.
Materials
Oil paint; Canvas
Techniques
Oil painting
Subjects depicted
Ruins; Fountains; Sarcophagus; Capricci
Categories
Paintings
Collection code
PDP
