Search engine for discovering works of Art, research articles, and books related to Art and Culture
ShareThis
Javascript must be enabled to continue!

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).
image-zoom
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.

Related Results

Decorative Relief: Hermes and the Infant Dionysos
Decorative Relief: Hermes and the Infant Dionysos
Hermes strides to the right, holding the infant Dionysos. Hermes wears a petosos (his three-cornered hat) and flowing chlamys. Dionysos is wrapped in a folded garment....
Saint John the Baptist Preaching in the Desert
Saint John the Baptist Preaching in the Desert
Pier Francesco Mola moved to Rome with his family in 1616. Little is known about his initial training but it is thought that he made two trips to the north of Italy, the first betw...
[Croquis of the ground floor of the Alcázar of Seville] [Material graphic]
[Croquis of the ground floor of the Alcázar of Seville] [Material graphic]
Handwritten annotation with pen and brown ink on the upper left side: "Explanation/1 Gate of the monteria p.a enter the Palace/2 Employee rooms/3 Cocheras/4 Material storage/5 Step...

Back to Top