Alberto Carlieri (Rome 1672 - c. 1720)
Alberto Carlieri (Rome 1672 - c. 1720)
Capriccio with Oriental Figures - Capriccio with Philosophers in Discussion Wearing Classical Dress
Oil on canvas
133 × 99 cm
These paintings belong to Carlieri's early mature period, following the end of his collaboration with Andrea Pozzo. At this stage, the artist drew upon the example of Giovanni Ghisolfi, reflected in the cool tonalities of the marble surfaces and the sulphurous atmosphere, while the sparse architectural elements reveal the influence of the enigmatic Master with the monogram GAE, a painter closely associated with Salvator Rosa. Distinctive features of Carlieri's style include the oriental figures, rendered with a concise and economical brushwork, the refined mottled treatment of the columns in imitation of marble, and his characteristic tendency to introduce circular or semicircular architectural structures in the background. Further support for the attribution may be found through comparison with several published works, notably figs. 41a and 41b (whose leaden chromatic scheme recalls the influence of Giovanni Ghisolfi), fig. 48b (showing an identical arrangement of the ruins), and fig. 65 (for the disposition of the architectural elements), illustrated in Giancarlo Sestieri, Il Capriccio architettonico in Italia nel XVII e XVIII secolo.
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Alberto Carlieri (Rome 1672 - c. 1720)
Capriccio with Oriental Figures - Capriccio with Philosophers in Discussion Wearing Classical Dress
Oil on canvas
133 × 99 cm
These paintings belong to Carlieri's early mature period, following the end of his collaboration with Andrea Pozzo. At this stage, the artist drew upon the example of Giovanni Ghisolfi, reflected in the cool tonalities of the marble surfaces and the sulphurous atmosphere, while the sparse architectural elements reveal the influence of the enigmatic Master with the monogram GAE, a painter closely associated with Salvator Rosa. Distinctive features of Carlieri's style include the oriental figures, rendered with a concise and economical brushwork, the refined mottled treatment of the columns in imitation of marble, and his characteristic tendency to introduce circular or semicircular architectural structures in the background. Further support for the attribution may be found through comparison with several published works, notably figs. 41a and 41b (whose leaden chromatic scheme recalls the influence of Giovanni Ghisolfi), fig. 48b (showing an identical arrangement of the ruins), and fig. 65 (for the disposition of the architectural elements), illustrated in Giancarlo Sestieri, Il Capriccio architettonico in Italia nel XVII e XVIII secolo.
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