Beskrivning: Se beskrivning i den engelska versionen.

Catalogue raisonné: Description in Italian Paintings: Three Centuries of Collecting, Nationalmuseum, Stockholm, 2015, cat.no. 93: 

FORMER INV. NOS.: 202 (M. 1804); KM 523.

TECHNICAL NOTES: Inscriptions verso, paper labels: “Claudio
L:no? Tassi? Campagna con archittetura”; “23 1/2t. hög, 1a. 5 1/2 t.
bred”. The support is a single piece of medium-coarse, sparsely
woven, plain-weave linen fabric. It has been lined with glue and
mounted with staples on a Martelli strainer. This was probably
done in Italy before shipping to Sweden. The ground is white.
There are many old retouches and overpaintings. The sky is almost
completely overpainted, and the originally blue overpaintings
have turned white. The painting is in poor condition.

PROVENANCE: Martelli 1804.

BIBLIOGRAPHY: NM Cat. 1867, p. 13 (as Agostino Tassi); Sander
1872–76, III, p. 110, no. 202 (as Agostino Tassi); NM Cat. 1941, p. 32;
NM Cat. 1990, p. 402 (as anonymous Flemish master, 17th century);
Cavalli-Björkman, Fryklund and Sidén 2010, p. 482 (as anonymous
Italian master, 17th century).

In this architectural landscape, a ruin of a huge
Corinthian temple is depicted in clear linear
perspective. In front of the building, at the very
centre of the scene, two figures are approaching a
monumental male bronze sculpture. In the background
is a harbour with buildings from Roman
antiquity.

This painting is a companion piece to the
Landscape with Open Portico and Flying Mercury
(NM 186, cat. no. 94). It has almost the same
measurements as that painting and seems to represent
a similar subject. The two paintings have a
common provenance, and although they are not
found under Tassi in the original catalogue, they
do carry original labels with the uncertain attribution
to either Claude Gellée, called Lorrain, or
Agostino Tassi: “Claudio L:no? Tassi? Campagna
con archittetura”. The present painting may be
one of the many landscapes found under Claude
in the original catalogue. As Claude was a pupil
in Tassi’s studio in the 1620s, their landscapes
have sometimes been confused. In the Martelli
inventories from 1804, the landscape is attributed
to Tassi: “Landscape with architecture by Tassi.”¹
Agostino Tassi had a large studio and he was
the absolute master of painted architecture and
perspectives of his time.² In comparison with
a number of paintings by Tassi now in private
collections in France,³ this architectural landscape
seems to fit in well and could be part of his oeuvre.

In the 1990 Nationalmuseum catalogue of
European paintings, the painting is suddenly
attributed to an unknown Flemish painter,⁴ but
in the catalogue Flemish Paintings from 2010, it
is reattributed to an unknown Italian painter of
the 17th century.⁵ This unknown Italian painter
may well be Agostino Tassi himself or one of his
pupils.
je

1 Sander 1872–76, III, p. 110.
2 Cavazzini 1998; Cavazzini 2008b.
3 Cavazzini 2008b, pp. 204–205, 216–217.
4 NM Cat. 1990, p. 402.
5 Cavalli-Björkman, Fryklund and Sidén 2010, p. 482.
[End]Description in Italian Paintings: Three Centuries of Collecting, Nationalmuseum, Stockholm, 2015, cat.no. 93: 

FORMER INV. NOS.: 202 (M. 1804); KM 523.

TECHNICAL NOTES: Inscriptions verso, paper labels: “Claudio
L:no? Tassi? Campagna con archittetura”; “23 1/2t. hög, 1a. 5 1/2 t.
bred”. The support is a single piece of medium-coarse, sparsely
woven, plain-weave linen fabric. It has been lined with glue and
mounted with staples on a Martelli strainer. This was probably
done in Italy before shipping to Sweden. The ground is white.
There are many old retouches and overpaintings. The sky is almost
completely overpainted, and the originally blue overpaintings
have turned white. The painting is in poor condition.

PROVENANCE: Martelli 1804.

BIBLIOGRAPHY: NM Cat. 1867, p. 13 (as Agostino Tassi); Sander
1872–76, III, p. 110, no. 202 (as Agostino Tassi); NM Cat. 1941, p. 32;
NM Cat. 1990, p. 402 (as anonymous Flemish master, 17th century);
Cavalli-Björkman, Fryklund and Sidén 2010, p. 482 (as anonymous
Italian master, 17th century).

In this architectural landscape, a ruin of a huge
Corinthian temple is depicted in clear linear
perspective. In front of the building, at the very
centre of the scene, two figures are approaching a
monumental male bronze sculpture. In the background
is a harbour with buildings from Roman
antiquity.

This painting is a companion piece to the
Landscape with Open Portico and Flying Mercury
(NM 186, cat. no. 94). It has almost the same
measurements as that painting and seems to represent
a similar subject. The two paintings have a
common provenance, and although they are not
found under Tassi in the original catalogue, they
do carry original labels with the uncertain attribution
to either Claude Gellée, called Lorrain, or
Agostino Tassi: “Claudio L:no? Tassi? Campagna
con archittetura”. The present painting may be
one of the many landscapes found under Claude
in the original catalogue. As Claude was a pupil
in Tassi’s studio in the 1620s, their landscapes
have sometimes been confused. In the Martelli
inventories from 1804, the landscape is attributed
to Tassi: “Landscape with architecture by Tassi.”¹
Agostino Tassi had a large studio and he was
the absolute master of painted architecture and
perspectives of his time.² In comparison with
a number of paintings by Tassi now in private
collections in France,³ this architectural landscape
seems to fit in well and could be part of his oeuvre.

In the 1990 Nationalmuseum catalogue of
European paintings, the painting is suddenly
attributed to an unknown Flemish painter,⁴ but
in the catalogue Flemish Paintings from 2010, it
is reattributed to an unknown Italian painter of
the 17th century.⁵ This unknown Italian painter
may well be Agostino Tassi himself or one of his
pupils.
je

1 Sander 1872–76, III, p. 110.
2 Cavazzini 1998; Cavazzini 2008b.
3 Cavazzini 2008b, pp. 204–205, 216–217.
4 NM Cat. 1990, p. 402.
5 Cavalli-Björkman, Fryklund and Sidén 2010, p. 482.
[End]

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Foto: Erik Cornelius / Nationalmuseum 2012