Where landscapes paintings were intended by an artist as a way to explore the phisical presence of the Man in Nature, the still life paintings were an attempt to contemplate how this relationship works from and introspective and emotional point of view.
Landscapes
Across the XVIII Century, Rome and Venice were capitals of culture and taste. The beautiful architecture of the buildings and fashionable people that populate them, at the eyes of the Grand Tourist were something that had to be documented. This lead to a rise in the demand of paintings representing city scenes. During the XIX Century, a need to retreat in nature was needed as a break to the frenetic city life: rural landscape became the ideal pleace for romantic and introspective meditations.
Rome, the church of the Santissima Trinità dei Monti (1685) by Gaspar Van Wittel, detto VanvitellioBiennale Internazionale dell'Antiquariato di Firenze
Rome, Piazza della Bocca della Verità, with Santa Maria in Cosmedin and the temple of Ercole Vincitore (unknown - unknown) by Gaspar Van Wittel, detto VanvitellioBiennale Internazionale dell'Antiquariato di Firenze
Scenes of daily life in Piazza della Bocca della Verità, in Rome.
A detail of the landscape in the background.
The gardens and the Casino of villa Chigi - Massinaghi (1719) by Gaspar Van Wittel, detto VanvitellioBiennale Internazionale dell'Antiquariato di Firenze
Venice, a view of the Church of Santa Maria della Salute and the Punta della Dogana (unknown - unknown) by Francesco GuardiBiennale Internazionale dell'Antiquariato di Firenze
Francesco Guardi painted the Church of Santa Maria alla Salute illuminated by sunlight.
A sporting contest on the Tiber river (1750) by Claude-Joseph VernetBiennale Internazionale dell'Antiquariato di Firenze
A detail people attending a sporting contest on the Tiber river.
Noble spectators admire the sports competition from a privileged spot.
View of the Piazzetta from South (1780 ca) by Francesco GuardiBiennale Internazionale dell'Antiquariato di Firenze
A scene of the daily life in Venice painted by Francesco Guardi.
Basilica of Saint John and Paul (1820/1820) by Giuseppe Bernardino BisonBiennale Internazionale dell'Antiquariato di Firenze
The masterful use of perspective and details provide a realistic and accurate result.
Venice (1842/1842) by Ippolito CaffiBiennale Internazionale dell'Antiquariato di Firenze
From this painting emerge the emotional view of Ippolito Caffi's Venice. Through airy and rapid brushstrokes and a light velatura, this landscape represents the artist’s poetic view.
Landscape with figures (1852/1852) by Karoly Markó IBiennale Internazionale dell'Antiquariato di Firenze
The Fisherman (1854/1854) by Karoly Markó IBiennale Internazionale dell'Antiquariato di Firenze
Still Life with a basket of grapes and pomegranates, and other fruits and vegetables on a ledge (unknown - unknown) by Juan van der Hamen y LéonBiennale Internazionale dell'Antiquariato di Firenze
Still life paintings
The beauty of the vivid colours of flowers, vegetables and fruits it is something that does not last eternally. The idea of a limited time to live put in perspective the needs and pleasure of human life: like dices and cards, life is a game of chance, where knowledge and beauty will not make a difference in the end.
Vanitas (unknown - unknown) by Francesco SolimenaBiennale Internazionale dell'Antiquariato di Firenze
Memento Mori (unknown - unknown) by Francesco SolimenaBiennale Internazionale dell'Antiquariato di Firenze
Fruit bowl with plums and figs and two jasmines on a table (unknown - unknown) by Fede GaliziaBiennale Internazionale dell'Antiquariato di Firenze
A kitchen still life with cheese, fruit and bread on a table top (sconosciuta - sconosciuta) by Giacomo CerutiBiennale Internazionale dell'Antiquariato di Firenze
A kitchen still life with meat and vegetables on a table top (sconosciuta - sconosciuta) by Giacomo CerutiBiennale Internazionale dell'Antiquariato di Firenze
I am gratefull to the staff of the Biennale Internazionale dell’Antiquariato and the Secretary Fabrizio Moretti for allowing this partnership to happen.
Thanks to the galleries that supported and joined this exhibition.
Special thanks to the kindness and patience of the staff of the Google Cultural Insitute and all the friends that have supported me in this project.
Luigi de Benedetto
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