In Italian Light: The impact of Italy and the Italian Landscape on Artists and Travellers circa 1650-1900 - Colnaghi, London - Wednesday 13th June – Wednesday 18th July 2007 Wednesday 25 April 2007 PDF Print The Colnaghi Summer Exhibition explores the reactions to Italy of both artists and cultural tourists from the seventeenth to the early twentieth century. The prime focus of the exhibition will be on Italian landscape and how it has inspired both visiting artists and Italian view painters. This exhibition is supported by a series of free public lectures by leading experts, to be held at Colnaghi’s galleries on Old Bond Street. Included in the exhibition are both Grand Tour portraiture and landscapes both real and imagined; including vedute, capriccii and Northern landscapes influenced by the ‘experience’ of Italy and the ‘Italian Light’. The exhibition will illustrate the varying responses of various North European artists to Italy over a period of three centuries. Artists featured will include Dutch seventeenth-century artists such as Pynacker, Wyck, and Poelenburgh, French landscape painters such as Vernet, Bidauld, Valenciennes, Michallon and Corot and Swiss, German and Scandinavian artists such as Frey, Marko, and Joseph-Theodor Hansen as well as Italian view painters including Zocchi and Labruzzi. Amongst the British landscapes is a striking view of the Villa Emilia by Richard Wilson. The view paintings embrace all the major cities that would have been visited on the Grand Tour, including a splendid painting of the Piazza della Signoria, Florence, by the eighteenth century artist Giuseppe Zocchi and a nineteenth century view of Florence by the Victorian artist William James Müller. There is also an interesting group of paintings of the Neapolitan area, including a wonderfully luminous view of Ischia by Jacob Phillip Hackert, the German-born court painter to the King of Naples. Rome, the ‘Mecca’ for the Grand Tourist and artistic travellers, is strongly represented by a large group of paintings, drawings and oil sketches of the city and its environs. Highlights include a majestic view of the Augustan Bridge at Narni by Jean-Xavier Bidauld, dated 1790, two sublime early nineteenth-century landscapes of Tivoli and a distant view of Rome by the Swiss artist Johann Jakob Frey, lent from the Schloss Fuschl Collection. The continuity of the Italian landscape tradition is illustrated by two exquisitely painted views of the Roman Forum by the Danish artist Theodore Hansen dated 1906. The way in which Italy has kindled the imagination of artists, is illustrated by a group of imaginary landscapes and capriccii ranging in date from the seventeenth-century to the early nineteenth century. A capriccio by Hubert Robert, introducing Giambologna’s equestrian portrait of the Grand Duke Cosimo from Florence into an imaginary landscape littered with famous Roman monuments and loosely based on the Forum, is a fine example of the liberties taken by eighteenth-century artists. Katrin Bellinger at Colnaghi has also selected an impressive group of oil sketches by French and German artists together with some watercolours by English artists, which complement the exhibition. These include the sublime Waterfall between Chiavenna and Mount Splügen, Switzerland by Francis Towne, one of his rare alpine views; a view the Grand Tourist would have encountered on his journey to Italy. Together with a Samuel Prout portrayal of Venice and a watercolour produced by Samuel Palmer on his honeymoon near Naples. Highlights also include two crisp oil on paper landscapes of a Pine Wood near Lake Nemi and a Path in the Hills above Rome from the nineteenth century by the Swiss artist, Johann Jakob Frey. Other landscape studies by nineteenth century German artists include Edmund Kanoldt’s View of Benevenuto, from the Neapolitan region. This drawing was probably produced during his 1873 visit, when he produced a series of drawings for a lavishly illustrated volume on Italy. A Wooded Landscape near Rome, a pencil, pen and ink study by Friedrich Salathé dates from his earlier visit to Italy in 1815. An oil on paper study of An Italian Woman in Local Costume by Theodor Leopold Weller illustrates the interest in the Roman campagna and its inhabitants. This image was painted on Weller’s first trip in 1828, and the artist focused on the depiction of everyday life, the peasants and their costume. Interest in the Antique is illustrated by Arthur Blaschnik’s watercolour, The Column of Phokas on the Roman Forum, from a series of views of the Forum. The travellers themselves and their souvenirs are also represented by a splendid Grand Tour portrait by Batoni of the Duke of York, a highly unusual, grand allegorical portrait by Baron Gerard of Madame de Staël portrayed as the heroine of her novel ‘Corinne’, holding a lyre against a background of Vesuvius, a group of caricatures by Pier-Leone Ghezzi and some important works of art and eighteenth-century furniture. Colnaghi Lecture Series: To accompany the London exhibition, there will be a series of free public lectures: • Tuesday 19th June 2007. 6.30pm. Professor Richard Verdi, Director of the Barber Institute, Birmingham: Artistic Travellers in Seventeenth Century Italy; • Thursday 21st June 2007, 6.30pm. Jeremy Howard, Colnaghi: From The Grand Tour to Cook's Tours: The Lure of Italy and Its Artistic Impact in Britain; • Tuesday 26th June 2007, 6.30pm. Dr Jon Whiteley, Assistant-Keeper, Department of Western Art, The Ashmolean Museum, Oxford: In the footsteps of Claude: Landscape Painters in Italy in the late eighteenth and nineteenth centuries. Following the London launch, the exhibition will travel to Schloss Fuschl near Salzburg and then on to the Bernheimer Gallery in Munich. • Bernheimer Gallery Schloss Fuschl, Hotel Schloss Fuschl, Salzburg 30th July – 31st August • Bernheimer Fine Old Masters, Munich 21st September – 26th October -Ends- Notes to Editors: P. & D. COLNAGHI & CO., LTD. Colnaghi was established by Paul Colnaghi and his partner Anthony Torre in Paris in 1760. The original shop in Paris, known as the ‘Cabinet de Physique Experimental’, dealt in scientific instruments imported from England and they quickly branched out into print selling, importing English mezzotints and barometers. After managing a new shop in the Palais Royale, Paul Colnaghi took over the London branch of the business, based in Pall Mall in 1783, and as a result of the French Revolution transferred the business to London becoming print sellers to the Prince Regent (later George IV). Colnaghi established itself initially as the premier dealership for prints. By the end of the 19th century the firm had begun dealing in Old Master paintings and drawings and was instrumental in the formation of some of the most important American collections, including that of Isabella Stewart Gardener, Henry Clay Frick and Andrew Mellon. In 2002, the Old Master paintings dealer Konrad O. Bernheimer, the fourth generation of one of Europe’s major art dealing families, acquired Colnaghi. Under the Colnaghi umbrella, Bernheimer joined forces with the renowned Old Master drawings dealer Katrin Bellinger. In October 2006, Hauser & Wirth moved into 15 Old Bond Street to open their third London gallery – Hauser & Wirth at Colnaghi. Bernheimer and Bellinger continue to maintain a presence in Munich, Bernheimer Fine Old Masters, and Katrin Bellinger Kunsthandel. Colnaghi continues to operate as one of the world’s most important dealerships, specializing in Master paintings and drawings from the fifteenth to the nineteenth century. BERNHEIMER FINE OLD MASTERS Founded by Lehmann Bernheimer in 1864, Bernheimer Fine Old Masters dealt initially in textiles and oriental carpets, before expanding to include Italian Renaissance furniture, French antiques, tapestries, porcelain and objets d’art. By 1900 Bernheimer had become purveyors to the Court of Bavaria and its clientele included members of the European aristocracy and American magnates, such as William Randolph Hearst. Konrad O. Bernheimer, great grandson of Lehmann, is the current owner and chairman of Bernheimer Fine Old Masters. Under his direction, the gallery now specializes in Old Master paintings, although it has recently begun to hold exhibitions of photography. KATRIN BELLINGER AT COLNAGHI In 2002 Katrin Bellinger joined forces with Konrad Bernheimer at Colnaghi, where she runs the Old Master Drawings department, an established area of expertise at Colnaghi, together with Dr Florian Haerb. Old Master Drawings exhibitions are held regularly at the Old Bond Street Galleries as well as other exhibitions of 19th century oil sketches, botanical watercolours and the work of living artists, including John Sergeant. In addition she continues to participate in the Salon du Dessin, Paris and the International Fine Arts Fair, New York. A selection of drawings is always on permanent view at the Old Bond Street premises, and she is regularly available for consultation and appraisals. Katrin Bellinger also maintains a presence in Munich assisted by Marten Grässle. For press enquiries, further information and images: Russell Elliott Cassleton Elliott & Co. T: +44(0)20 7499 1124 F: +44(0)20 8854 2141 E: email@example.com Colnaghi 15 Old Bond Street London W1S 4AX, T: + 44 (0)20 7491 7408 Opening hours: Monday – Friday 10am – 6pm www.colnaghi.co.uk Bernheimer Fine Old Masters, Briennerstrasse 7, D80333 Munich, Germany United Kingdom T: +49-89-226672 Opening hours: Monday – Friday 10am – 6pm Saturday 10am - 2pm www.bernheimer.com Katrin Bellinger at Colnaghi 15 Old Bond Street London W1S 4AX T: + 44 (0)20 7491 7408 Opening hours: Monday – Friday 10am – 6pm www.bellinger-art.com Katrin Bellinger Kunsthandel Brienner Strasse 7, D80333 München Germany T: +49-89-983465 Opening hours: Monday – Friday 10am – 6pm Saturday 10am - 2pm www.bellinger-art.com This press release was distributed by ResponseSource Press Release Wire on behalf of Cassleton Elliott in the following categories: Men's Interest, Entertainment & Arts, Home & Garden, Women's Interest & Beauty, Travel, for more information visit http://pressreleasewire.responsesource.com/about.