Salvatore Colonnelli Sciarra (Rome, first half of the 18th century), View of the Capitoline Hill
Salvatore Colonnelli Sciarra (Rome, active in the first half of the 18th century)
View of the Capitoline Hill
Oil on panel, 22 x 32 cm
In this view of the Capitoline Hill, we find the characteristic features of the Italian veduta tradition, which developed during the 18th century as a continuation of the landscape painting that had already characterized Baroque art in the previous century. A primary distinction from earlier examples is a preference for the exact and objective depiction of the subject, in contrast to the architectural capriccios and fantasy landscapes that, while persisting in the artistic production of the 18th century, had been more popular with artists of the Baroque era. Attention to detail is most evident in urban views like the one under examination, where one notices a carefully calibrated perspective foreshortening of the square, the staircase, and the perimeter buildings, without omitting any detail and without any cursory treatment of the architectural particulars. Symbolic places of the great Italian art cities, such as Venice, Florence, and, indeed, Rome, were among the preferred subjects of the painters of this genre, including the author of this panel: Salvatore Colonnelli Sciarra, active in Rome in the first half of the 18th century. Little is known about the biography of this artist, a prominent Roman painter and restorer known for his specialization in landscape painting and for his role in the recovery of important works of art through his drawings. His perfection in the field of veduta painting placed him in an artistic context dominated by figures such as Giovanni Paolo Panini, of whom he has been mistakenly considered a mere follower by some historians, and Antonio Joli, despite his works, such as the one under examination, showing a quality and a distinctive style that elevate him beyond the role of a simple imitator. His views, such as this View of the Capitoline Hill, that of Villa Sacchetti, or the View of Piazza del Pantheon, demonstrate a remarkable ability in capturing the architectural details and urban atmospheres of 18th-century Rome. His painting is characterized by a skillful use of light, which highlights the volumes of the buildings and creates depth. The atmospheres are often clear and limpid, with blue skies that contrast with the earthy color of the ruins. The human figures, although small, are vital and animate the scenes, adding a sense of movement and daily life. The artist also demonstrates a profound knowledge of classical architecture: every detail, from columns to capitals to facades, is reproduced with almost scientific precision, a characteristic that also consecrated him as an important documentarian of the urban appearance of Rome in the 18th century.
Colonnelli Sciarra proved to be not only a view painter of the highest quality, but also the skilled creator of ephemeral installations and drawings that proved to be (and still are) an extremely important historical and artistic testimony of the assets present at the time, such as those for the decoration of the Sala dei Paesaggi inside the Colonna Gallery, created around 1730. The watercolors with the views of the rooms of the building were surprisingly discovered by the scholar Maria Chiara Paoluzzi inside a box entitled "Anonymous Roman Drawings" of Windsor Castle, collection of Queen Elizabeth II: the date 1730, in the series of sheets placed with accuracy the layout of the picture gallery with that of Fabrizio Colonna (1700- 1755), son of Filippo II and Olimpia Pamphilj.
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