Roma - Itália
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OST - 20x31 - 1840
The present work – a daytime veduta of the Piazza
Rotonda with the facade of the Pantheon and the 16th-century fountain by
Giacomo della Porta – belongs to the Roman phase of Caffi’s oeuvre,
characterized by a vigorous palette and a blurring of the outlines that
emancipates his work from the 18th century tradition of vedute, allowing him to
achieve greater vibrancy and intensity. While Caffi’s works from other periods
are characterized by a clear and serene vision, a closeness to life, and a
sensitivity to the effects of light and colour, it is in the Roman subjects
repeated on dozens of occasions that the artist succeeds in surpassing the
optical approach handed down from Canaletto, executing scenes with great
emotive and suggestive power.
In this painting, Caffi selects a classic Roman veduta, widely reproduced since the mid-18th century, changing very little of the Canalettian prototype. The enormous bulk of the Pantheon dominates the centre of the composition, overlapped slightly by the obelisk of the fountain of Piazza della Rotanda and perfectly framed by the facades of the adjacent buildings. Unlike numerous other eighteenth-century vedute, priority is given to the swarm of passers-by, washerwomen and beggars that animate the square, conveying with great immediacy the everyday life of a Roman afternoon. The freshness of this informal scene and the warm luminosity that fills the square is contrasted with the severity of the Eternal City and its monuments, the great mass of the Pantheon ominously shrowded in shadow. Bathed by an oblique light from the West, the vestiges of imperial Rome appear strangely immobile and incumbent; the square is a place of culture, of art and commerical exchange, providing an unperturbed platform around which the events of the day evolve. It is a silent testimony to the life that surrounds it, communicating a sense of the eternity of art and the transience of time.
In this painting, Caffi selects a classic Roman veduta, widely reproduced since the mid-18th century, changing very little of the Canalettian prototype. The enormous bulk of the Pantheon dominates the centre of the composition, overlapped slightly by the obelisk of the fountain of Piazza della Rotanda and perfectly framed by the facades of the adjacent buildings. Unlike numerous other eighteenth-century vedute, priority is given to the swarm of passers-by, washerwomen and beggars that animate the square, conveying with great immediacy the everyday life of a Roman afternoon. The freshness of this informal scene and the warm luminosity that fills the square is contrasted with the severity of the Eternal City and its monuments, the great mass of the Pantheon ominously shrowded in shadow. Bathed by an oblique light from the West, the vestiges of imperial Rome appear strangely immobile and incumbent; the square is a place of culture, of art and commerical exchange, providing an unperturbed platform around which the events of the day evolve. It is a silent testimony to the life that surrounds it, communicating a sense of the eternity of art and the transience of time.
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