Wooded Landscape with Riders
Giovanni Battista Cimaroli
( Salo, 1687 - Venise, 1757 )
Oil on canvas 46.2x56 cm
L’Arte nella Pittura, exhibition catalogue, Maison d’Art Gallery, Monte-Carlo 2001, no. 19. Da Cataletto a Zuccarelli, il paesaggio veneto del Settecento, exhibition catalogue, by Annalisa Del neri e Dario Succi, Villa Manin di Passariano (Udine), 8 August – 16 September 2003, no. 46.; From Light to Enlightenment, Exhibition in the Shanghai Art Museum, China, 12 -17 November 2005; Nel segno della Serenissima. Capolavori dell’arte veneta dal XIV al XVIII secolo, Museo Diocesano di Arte Sacra, Chioggia, Italia, 18 March – 9 April, 2006.
Ugo Ruggeri, in L’Arte nella Pittura, exhibition catalogue, Maison d’Art Gallery, Monte-Carlo, 2001, pp. 85-87, color illus. p. 87, no. 19; Dario Succi, in da Cataletto a Zuccarelli, il paesaggio veneto del Settecento, exhibition catalogue, by Annalisa Del neri e Dario Succi, Villa Manin di Passariano (Udine), 8 August – 16 September 2003, pp. 282 – 283, color illus. p. 283, no. 46; To be included in the forthcoming monograph on the artist by Professor Ugo Ruggeri; From Light to Enlightenment, Exhibition catalogue, Shanghai Art Museum, 2005, N 24, pp. 94-96, 146-147; Cristina Quagliotti, in Nel segno della Serenissima. Capolavori dell’arte veneta dal XIV al XVIII secolo, catalog by Maria Cristina Chiusa, Museo Diocesano di Arte Sacra, Chioggia, 18 March – 9 April, 2006, p.67-69, ill. p. 37.
This painting is one of the most significant examples of Cimaroli’s mature work, and can be immediately compared stylistically with a group of similar landscape pictures by the artist. Among these, especially, is the Wooded Landscape with Riders and Peasants formerly in the Ferrario collection in Milan, published by Antonio Morassi in his initial essay on Cimaroli (1), which shares with the present painting a broad landscape composition interrupted centrally by large trees in the foreground and the presence of a lakeside village on the left. The figure types of the mounted gentlemen are also identical, in particular the leading rider, based on the same model as his counterpart in the Ferrario Landscape.
Further elements proving Cimaroli’s authorship – if proof were needed – appear in similar paintings such as the Arcadian Landscape with a Small Bridge in the Cini Collection, Venice (2), and, among numerous possible parallels, the Landscape with Figures in the Staatliche Museen, Berlin, there attributed to Zuccarelli but given to Cimaroli by the present writer (3), and two other Landscapes in a British private collection, also presented in the same publication (4), in which the “macchiette”, or patches of color that enliven the composition were executed by Francesco Fontebasso.
This Landscape is a typical creation of the artist’s maturity, and displays formal qualities that are distinct from those of other, presumably earlier works, such as the oval Landscapes with Hermits now in the Royal Collections at Windsor, formerly owned by Consul Joseph Smith, in which Rodolfo Pallucchini (5) observed connections with Magnasco and Marco Ricci that are quite absent from the present picture.
1 - A. Morassi, “Saggio su Giambattista Cimaroli collaboratore del Canaletto”, Arte Veneta, XXVI, 1972, fig. 239.
2 - Morassi, art. cit., fig. 234.
3 - U. Ruggeri, “Nuove opere di Giovan Battista Cimaroli e del suo maestro Antonio Aureggio”, Arte Documento, 13, 1999, p. 273, fig. 5.
4 - Ruggeri, art. cit., pp. 274-275, figs. 6-7.
5 - R. Pallucchini, La pittura nel Veneto. Il Settecento, vol. II, Milan, 1996, p. 295.