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©
Carmen Thyssen Collection
Andrea Locatelli

Landscape with Nymphs and Satyrs

s.f
Oil on canvas.
74 x 96.5 cm
Carmen Thyssen Collection
Inv. no. (
CTB.1999.24
)
Room 18
Level 2
Permanent Collection
1 2 3 4 5 6 7 8 9 10 11 12 14 13 15 16 17 18 22 19 20 21 23 24 25 26 27 28 29 Recommended start of the visitClassical rooms
1 14th Century. Early Italian Painting 2 15th Century. German and Spanish Painting 3 15th Century. Early Netherlandish Painting 4 15th Century. Italian Painting 5 15th and 16th Centuries. Renaissance Portraiture 6 16th Century. Villahermosa Gallery 7 16th Century. Italian Painting 8 15th and 16th Centuries. German Painting 9 15th and 16th Centuries. German Painting 10 16th Century. Netherlandish Painting 11 Tiziano, Tintoretto, Bassano and  El Greco 12 17th Century. Caravaggio and Baroque Painting 13 17th Century. Italian, French and Spanish Painting 14 17th Century. Italian, French and Spanish Painting 15 17th Century. Italian, French and Spanish Painting 16 18th Century. Italian Painting 17 18th Century. Italian Painting 18 18th Century. Italian Painting 19 Classical rooms 20 Classical rooms 21 Classical rooms 22 18th Century. Italian Painting 23 17th Century. Dutch Painting. Landscape 24 18th Century. French and English Painting 25 17th Century. Dutch Painting. Scenes of Daily Life and Interiors 26 17th Century. Dutch Painting. Landscape 27 17th Century. Dutch Painting. Portrait 28 17th Century. Dutch Painting. Landscape 29 19th Century. European Painting. Goya and Romanticism  
This work, which is one of the brightest by the greatest 18th-century Roman landscape painter, shows in a certain way the purged and rather stereotyped Arcadian vision of the countryside of Lazio as represented, though not exclusively, by Locatelli.

Inevitably influenced by the great models of the 17th century such as (but not in this case) Salvator Rosa, in paintings in which the feeling of an unkind, if not explicitly hostile nature, and of dramatic weather prevails, Locatelli clearly draws inspiration from the elegiac and optimistic attitudes of the classicists Dughet and Lorrain.

It is well known that Locatelli alternated between representations of ruins, sea views (exceptionally), genre scenes in the style of Bamboccio and proper landscapes, showing a repetitive temperament, perhaps, but also varied, thus continuing, particularly in the latter genre, the tradition of excellence of the painter from Antwerp Van Bloemen (nicknamed "Horizon"), but also anticipating, rather than following, Pannini.

Andrea Locatelli, who has recently been reappraised by art criticism, takes up a very respectable role in the development of European landscape painting in the second quarter of the 18th century, within the narrow parabola of a career lasting twenty years, announcing an impressive production of works, very few of which were directly dated.

In a specific group of his works, the selective and aulic paradigm of a reference to nature, raised to a level of emphatic solemnity by the 17th-century Emilian and French classicists, recovers an original and personal style, obtained by giving a protagonist role in his own compositions not so much to the vast horizon, the Olympic calm of his visions, or even the human actions "filmed" in small scale and often verging on the pretext. No, Locatelli's real stars are the massive, invading, leafy tree tops, the green umbrellas whose trunks, often bent, chase away from the scene any other interlocutor. A disrespectful procedure, not immune from mannerisms, which forces the observer, as in the case examined here, to guess, by the small portions depicted, the landscape's morphology, the succession of plains and orographic phenomena. As if the sense of the picturesque -widely present in Locatelli's repertoire (see his genre paintings)- disappears in favour of an original, extremely personal, almost stereotypical Arcadia.

And the subsidiary function of the figures, which play, here, a proportionally small part (although this is not usually the case; see for example Landscape with Rebecca and Eliezer, at the Musée d'Art et d'Histoire in Geneva, or Venus and Vulcan), occasionally reaches such a level of excellence that we are inclined to deduce the presence of specialised collaborators. And what collaborators, if art critics have identified, among others, the hand of Subleyras, of Batoni and of Giaquinto!

Undoubtedly, in this area, there is still much to be said. And we cannot discard the possibility that Locatelli may have legitimately belonged to the exquisitely figurative trend. If it can be asserted, for example, that Locatelli himself is responsible for the extremely good and original execution (post-Fetti, post-Jordaens, so to say) of the shapely feminine protagonists in Landscape with Washerwomen by a Fountain, from Count Savini Collection in Viterbo, one of the few paintings dated by the artist (1725), then we should accept that the majority of the other accessory figures in many of his paintings are not by him, or else consider that the Roman painter mastered many styles.

Roberto Contini

18th Century - Italian paintingPaintingOilcanvas
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Landscape with Nymphs and Satyrs. Paisaje con ninfas y sátiros
Landscape with Nymphs and Satyrs
Andrea Locatelli

©

Carmen Thyssen Collection

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Landscape with Nymphs and Satyrs. Paisaje con ninfas y sátiros
Landscape with Nymphs and Satyrs
Andrea Locatelli

©

Carmen Thyssen Collection

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