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View of the Gardens of the Villa Albani. Rome
View through National Gallery of Denmark
In this view of the gardens of one of the most famous villas of Rome, Eckersberg eschewed the most spectacular potential motifs in favour of one of the garden’s less remarkable corners and buildings, the so-called Casino del Bigliardo (cf. Olsen 1985, 114). What is more, the building is shown from its least impressive side and pushed firmly into the background by cypresses and a monumental plinth carrying a bust, which thus becomes the main motif. The deliberately un-picturesque nature of the scene is typical of the Danish painter’s views of Rome. The subject was undoubtedly chosen after careful consideration. The composition is underpinned by the carefully calculated system of horizontal and vertical lines and diagonals formed by the garden wall, the trees and the buildings – i.e. the painting does not represent Eckersberg’s initial, spontaneous impression of the scene.
Værkdatering: (1814/16)
Datering: kvalificeret skøn: sandsynligvis udført efter, at Eckersberg i foråret 1814 begyndte at male ude i det frie (se Hornung & Monrad, C. W. Eckersberg. Kbh 2005, p. 137-39, 153-55).
Title: View of the Gardens of the Villa Albani. Rome
Description:
In this view of the gardens of one of the most famous villas of Rome, Eckersberg eschewed the most spectacular potential motifs in favour of one of the garden’s less remarkable corners and buildings, the so-called Casino del Bigliardo (cf.
Olsen 1985, 114).
What is more, the building is shown from its least impressive side and pushed firmly into the background by cypresses and a monumental plinth carrying a bust, which thus becomes the main motif.
The deliberately un-picturesque nature of the scene is typical of the Danish painter’s views of Rome.
The subject was undoubtedly chosen after careful consideration.
The composition is underpinned by the carefully calculated system of horizontal and vertical lines and diagonals formed by the garden wall, the trees and the buildings – i.
e.
the painting does not represent Eckersberg’s initial, spontaneous impression of the scene.
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