C. W. Eckersberg (b. Blåkrog near Aabenraa 1783, d. Copenhagen 1853)
“Den nordøstlige side af Capitol”. The Northeast Side of the Capitoline Hill in Rome. 1813–1816. Unsigned. Oil on canvas. 32×48 cm.
On Saturday 3 July 1813, Eckersberg arrives in Rome, where he stays for the next 3 years. His Roman views from this period would eventually become some of his most popular and sought-after works. “Instead of completely executing his paintings - including landscapes - indoors in his studio as he did before, he now switched to putting the last phase of the work out into the open at the very location where the subject was observed. That step , Eckersberg here took, was nothing less than an innovation in Danish art. [...] ”Quite concretely, Eckersberg prepared his work in the following way: He first made a detailed drawing of the composition in situ in front of the subject. He transferred this drawing to a canvas at home in his studio, where he also did the underpainting. He then returned to the subject and finished the painting." (Hornung and Monrad pp. 136 and 137).
Because of this innovative working method, Eckersberg is considered to be one of the forerunners of the plein air painting of Impressionism.
Today it is known that Eckersberg varied his working method more. Many of the Roman views are, as described above, completed in situ in front of the subject, others are begun in front of the subject and completed in the studio and others are completely executed in the studio.
Hornung and Monrad specifically write about this painting: “It was done on the other side of the church, where he was able to stand in the shade and thus be protected from the hot afternoon sun. The time chosen is relatively late in the day, and the colours are not as warm as in the morning painting; this is felt everywhere in the work, but especially the light touch of purple tones in the evening clouds catches the eye. The light is absolutely crucial in the picture - as in most of Eckersberg's other views from Rome. He made the clear, carefully defined light one of his characteristics. This was unfamiliar to many of his contemporaries and puzzled several. [...] The painting of the view from the Capitoline Hill stands out for its precise depiction of the late afternoon light. The finely sensed registration of its effect on the individual parts of the subject gives it a special status among the Roman views.” (p. 148).
The present painting is one of the few of Eckersberg's Roman views that is still in private ownership.
Emil Hannover's Catalogue Raisonné of the Works of C. W. Eckersberg, 1898, no. 191. Hannover writes at the end of his cataloguing of no. 191: “A drawing of the right part of this picture belongs to the Misses Eckersberg”. This drawing is at the National Gallery of Denmark (Inv. No. KKS13809, verso) - see photo.
Exhibited: Kunstforeningen, “Fortegnelse over en Samling Malerier, Tegninger og Kobbere”, 1828 no. 152. Kunstforeningen, “Udstillingen af C. W. Eckersbergs Malerier”, 1895 no. 103. The National Gallery of Denmark, “Mit bedste Kunstværk”, 1941 no. 39. Thorvaldsen's Museum, “Eckersberg i Rom 1813–1816”, 1983 no. 38, mentioned and ill. p. 109. Here the motif is described as follows: “The staircase in the foreground belongs to the Franciscan monastery behind S. Maria in Aracoeli. The portico with the heraldic lilies of Pope Paolo III still exists, but the monastery was among the buildings demolished in 1886 during the construction of the monument to Vittorio Emanuele. The medieval building on the far right of the picture is Nicolo V's tower at the Senatorial Palace, and the column in front, which bears a cross, was placed in memory of an earthquake that left Rome almost unscathed in 1703. Behind the wall, Eckersberg has let his gaze wander over the Roman Forum with the churches SS. Luca e Marino and S. Francesca Romana, across the Palatine Hill to the distant Monte Cavo in the Alban Mountains.”
Literature: “C. W. Eckersbergs dagbøger 1810–1837”, published and commented by Villads Villadsen, 2009, mentioned p. 1208. Eckersberg writes 21st of April: “Merchant Gerson came this afternoon and bought a View from Rome ”View from Aracoeli over Campvaccino to the Albaner Mountains“ and therefore brought 80 Rbd.” Ph. Weilbach, “Maleren Eckersbergs levned og værker”, 1872, mentioned p. 222. Peter Michael Hornung and Kasper Monrad: C. W. Eckersberg - dansk malerkunst fader, 2005, mentioned pp. 148–149, ill. p. 149.
Illustrated: Emil Hannover “Maleren C. W. Eckersberg”, 1898, p.107. “Små Kunstbøger” no. 16, 1921, p16. Carl V. Petersen “Kunst i Danmark, Ny række IV, 1932: Italien i dansk malerkunst, Eckersberg og hans kreds”, ill. no. 4. “Et hundrede billeder fra ”Mit bedste Kunstværk“”, 1941 plate 51.
Provenance: Acquired directly from the artist in 1851 by merchant Nicolai Gerson (1802–1865) (mentioned in Eckersberg's diary, see above). His brother-in-law, Master of Laws Carl Ludwig Bull (1872), sold his auction 1880 no. 4. Here acquired by merchant Emil le Maire (1895, 1898). His daughter, Maria Groothoff, born le Maire, Sæbygaard (1932,1941). Her daughter Ellen Dons, born Groothoff. Sold 1943 to art dealer Poul Buus. Sold from his estate to shipbroker Hjalmar Bruhn (1881–1959), his widow, their auction Bruun Rasmussen auction 123, 1960 no. 2, ill. p. 7. Bruun Rasmussen auction 671, 1999 no. 218, ill. p. 28 and on the cover of the catalogue. Here acquired by the present owner for hammerprice DKK 2.050.000.
Please note: The item is subject to the Anti-Money Laundering Act. In the event of a hammer price of DKK 50,000 or more, including buyer’s premium, the buyer must submit a copy of a valid photo ID and proof of address in order to collect the item.
Fine art, 4 March 2024
Not sold