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Catalogue raisonné: Description in Italian Paintings: Three Centuries of Collecting, Nationalmuseum, Stockholm, 2015, cat.no. 19:

FORMER INV. NOS.: 264 (M. 1796–97); 248 (F. 1798); 158 (M. 1804); KM 774.

TECHNICAL NOTES: The support consists of a single piece of
sparsely woven, plain-weave linen fabric. The ground is red and
covers the whole support. The support has been lined with glue,
probably in Sweden, and is mounted on a non-original stretcher.
There are some retouches. Some of the paint layers, for example
in the buildings on the right, have become transparent with time,
rendering underlying layers visible. The painting is in good condition.
Documented restorations: 1994: Removal of surface dirt.
Retouching; 2003: Cleaning. Local regeneration of varnish.

PROVENANCE: Martelli 1804.

BIBLIOGRAPHY: NM Cat. 1867, p. 9 (as Panini); Sander 1872–76,
III, p. 106, no. 158 (as Panini); Göthe 1887, p. 189 (as Panini); NM
Cat. 1958, pp. XXXII, 150 (as Panini, school of); Arisi 1961, p. 235 (as
Panini, imitator of); Arisi 1986, p. 223, cat. 14 (as Panini); NM Cat.
1990, p. 144 (as Giovanni Ghisolfi); Marshall 1997, pp. 185, 187, fig.
60 (as Carlieri); Marshall 2004, pp. 48, 59; 66, ill., cat. AC115; 112.

In the earliest inventories of the Martelli Collection,
the present painting was listed as a work by
Giovanni Paolo Panini (1691–1765), an attribution
that was confirmed by Ferdinando Arisi in his
Panini studies of 1961 and 1986.¹ When Anthony
M. Clark visited the Nationalmuseum in the late
1960s, he must have seen the painting, since the
files of the Museum note his reattribution of it to
the Milanese artist Giovanni Ghisolfi (1623–1683).
In 1997, David R. Marshall launched a different
hypothesis, proposing the relatively unknown Roman
quadraturista Alberto Carlieri as the author
of NM 119.² Marshall expanded his argument in
2004 and presented this painting as part of his
initial catalogue of Carlieri’s known work.³

The painting, which can clearly be assigned to
Carlieri’s oeuvre on the basis of Marshall’s thorough
scholarship, evidences the artist’s dependence
upon his master Andrea Pozzo (1642–1709).
Basic knowledge concerning the quadraturista’s
handling of architecture was clearly provided by
Pozzo, but, as Marshall points out, Carlieri had to
draw on alternative sources for the purely decorative
aspects of his canvases, finding them in artists
such as Niccolò Codazzi, Alessandro Salucci
and Giovanni Ghisolfi.⁴ According to Marshall’s
nomenclature, the Nationalmuseum painting is
one of the artist’s vertical ruin pieces. The varied
presence of moving and seated figures, interacting
with the carefully laid-out ruined architecture,
enhances the theatrical quality of the scenery
and contributes to the decorative ambitions of
the artist.
SNE

1 Arisi 1961; Arisi 1986.
2 Marshall 1997, pp. 137–199.
3 Marshall 2004, pp. 39–126.
4 Ibid., p. 42.
[End]

Foto: Erik Cornelius / Nationalmuseum 2012

Titel (sv): Klassiska kolonnbyggnader
Titel (en): Pilgrims: Corinthian Colonnades Framing a Female Statue, Ruined
Doric Arcade with Column Projections and Female Statue, and Vase Coulisse
Tidigare: Classical Buildings with Columns

Title (sv): Klassiska kolonnbyggnader
Title (en): Pilgrims: Corinthian Colonnades Framing a Female Statue, Ruined
Doric Arcade with Column Projections and Female Statue, and Vase Coulisse
Previous: Classical Buildings with Columns