Andrea Locatelli stands as a significant figure in the annals of eighteenth-century Italian art, celebrated primarily for his evocative landscape paintings. Born in Rome in 1695, he dedicated his relatively short life, which ended in 1741, to capturing the beauty, both real and imagined, of the Italian countryside, particularly the environs of his native city. His work is characterized by a romantic sensibility and a deep appreciation for natural beauty, often interwoven with elements of classical antiquity, making him a quintessential representative of the Roman landscape tradition of his era.
Early Life and Artistic Formation
Locatelli's journey into the world of art began under familial guidance. Sources suggest his initial training was overseen by his father, identified in some accounts as Piero Locatelli, himself a painter. Further instruction may have come from his uncle, Pietro Locatelli. This early exposure within an artistic household laid the foundation for his future career.
Seeking broader expertise, the young Locatelli apprenticed with several established masters. He studied under Monsù Alto, a figure associated with landscape painting, before moving to the workshop of Bernardo Fergioni (also referred to as Feringhi or Fermo Bergioni). Fergioni specialized in marine landscapes, and while Locatelli would become known for terrestrial scenes, this training likely broadened his technical skills and understanding of natural phenomena, such as light and atmosphere, crucial elements in any landscape work.
Influences and Artistic Style
Locatelli's mature style reflects a synthesis of various influences, skillfully blended into a unique artistic vision. The towering figures of seventeenth-century landscape painting cast a long shadow, and Locatelli clearly absorbed lessons from the idealized, luminous compositions of Claude Lorrain and the wilder, more dramatic scenes of Salvator Rosa. These artists had established powerful paradigms for depicting the Italian landscape, balancing classical order with naturalistic observation or romantic drama.
His artistic sensibility also connected with Northern European traditions. Echoes of the Dutch master Jacob van Ruisdael can sometimes be discerned, perhaps in the detailed rendering of foliage or the atmospheric depth of his scenes. Furthermore, Locatelli worked within a Roman milieu rich with landscape painters, including contemporaries like the Flemish artist Jan Frans van Bloemen, known as 'Orizzonte'. Van Bloemen's detailed and expansive views of the Roman Campagna share certain affinities with Locatelli's work, particularly in the way figures are integrated into the landscape. Other artists like Giovanni Ghisolfi, known for his architectural capricci often featuring ruins, and Gaspard Dughet, another prominent landscape painter working in Rome, also form part of the artistic context that shaped Locatelli's development.
Locatelli forged a style that was both romantic and imaginative. He excelled at depicting idyllic rural scenes, often bathed in a soft, warm light. His landscapes are rarely empty; they are typically populated with small figures – shepherds, peasants, or mythological characters – that animate the scene and enhance its pastoral or classical mood. These figures are seldom the main subject but serve to provide scale and narrative interest, seamlessly integrated into their surroundings.
A defining characteristic of Locatelli's work is the frequent inclusion of classical ruins and architecture. Fragments of ancient temples, bridges, or tombs often punctuate his pastoral vistas. This juxtaposition of nature's enduring beauty with the decaying remnants of human history creates a poignant, evocative atmosphere, a hallmark of the eighteenth-century fascination with antiquity and the picturesque. His approach blended elements of classicism, seen in the balanced compositions and idealized forms, with a burgeoning romanticism, evident in the atmospheric effects and emotional resonance of his scenes.
Subject Matter and Themes
The Roman Campagna, the countryside surrounding Rome, was Locatelli's primary muse. He depicted its rolling hills, meandering rivers, and distinctive umbrella pines with great sensitivity. His landscapes often present an idealized vision of nature, emphasizing harmony, tranquility, and a gentle, bucolic charm. While inspired by real locations, his paintings are typically compositions assembled in the studio, designed to evoke a particular mood rather than record a specific topography with absolute fidelity.
Architectural elements, particularly Roman ruins, are recurring motifs. These are not always depicted with strict archaeological accuracy but are often used compositionally and thematically. They add a sense of historical depth and melancholy beauty to the landscapes, reminding viewers of Rome's glorious past. Works like his View of the Colosseum with archaeologists and builders at work demonstrate a specific interest in these ancient monuments, capturing not just the structure itself but also the contemporary human interaction with it.
Mythological and pastoral figures frequently inhabit Locatelli's world. Nymphs, satyrs, or deities might appear discreetly within a sylvan setting, linking the landscape to classical mythology. More commonly, he included shepherds tending their flocks, fishermen by a riverbank, or travelers resting along a path. These figures contribute to the idyllic, timeless quality of his paintings, suggesting a harmonious coexistence between humanity and nature. The careful rendering of trees, water, light, and atmosphere showcases his skill as an observer of the natural world, even within his idealized frameworks.
Patronage and Contemporary Recognition
During his lifetime, Andrea Locatelli enjoyed considerable success and recognition, particularly among the Roman aristocracy and the burgeoning number of foreign visitors undertaking the Grand Tour. Wealthy patrons, including prominent families like the Ruspoli, Albani, Ottoboni, and Colonna, commissioned works from him. The Colonna family, for instance, reportedly amassed a collection of around eighty paintings by Locatelli, attesting to his high standing among elite collectors.
His popularity extended beyond the local nobility. Foreign travelers, captivated by the beauty of Italy and its classical heritage, sought out his landscapes as sophisticated souvenirs of their journey. These paintings, carried back to England, France, Germany, and elsewhere, helped to disseminate his style and reputation across Europe. He also undertook specific commissions, such as providing decorative paintings for the renowned architect Filippo Juvarra, further cementing his position within Rome's artistic circles.
Despite this success, Locatelli's position within the strict hierarchy of artistic genres was sometimes debated. In the eighteenth century, history painting (depicting religious, mythological, or historical subjects on a grand scale) was generally considered the noblest form of art. Landscape painting, even when incorporating classical or mythological elements, was often ranked lower. Some contemporary critics may have felt his focus on landscape, even his highly refined and popular version of it, lacked the gravitas of large-scale narrative works by artists like Giovanni Paolo Panini, who specialized in grand views of Rome and historical events. Interestingly, however, records suggest Locatelli could sometimes command fees comparable to, or even exceeding, those of Panini, indicating the strong market demand for his particular brand of landscape.
Representative Works
While a comprehensive catalogue remains a subject of ongoing scholarship, several works exemplify Locatelli's style and thematic concerns. His View of the Colosseum with archaeologists and builders at work is notable for its focus on a specific Roman landmark, imbued with contemporary activity, showcasing his ability to blend topographical interest with genre elements.
Other typical examples include paintings often titled generically, reflecting their focus on idealized types rather than specific locations. River Landscape with Figures near a Roman Altar and Mountain Landscape with Shepherds and Animals (or similar titles) represent the core of his output. These works characteristically feature serene bodies of water or gently rolling hills, carefully rendered trees framing the composition, distant atmospheric perspective, and small figures engaged in pastoral activities or interacting near classical fragments. The balance, soft lighting, and harmonious integration of elements are hallmarks of his approach.
Collaborations and Artistic Circle
The artistic environment in eighteenth-century Rome was vibrant and collaborative. Locatelli is known to have worked with fellow artist Paolo Anesi, another landscape painter active in Rome. Together, they reportedly produced works characterized by an "archaeological style," likely emphasizing classical ruins and settings. Such collaborations were not uncommon, allowing artists to combine their strengths or increase production speed.
Locatelli's interactions extended beyond direct collaboration. He was part of a network of artists who influenced and learned from one another. His relationship with Jan Frans van Bloemen ('Orizzonte') was significant, representing a shared interest in the Roman Campagna. While influenced by masters like Claude Lorrain and Salvator Rosa, Locatelli also absorbed ideas from contemporaries and, in turn, contributed to the evolving landscape tradition.
Influence and Lasting Legacy
Andrea Locatelli's impact extended significantly beyond his own lifetime, influencing the trajectory of landscape painting in Italy and beyond. He is considered one of the key figures who shaped the character of eighteenth-century Roman landscape painting, moving it towards a more lyrical and picturesque sensibility.
His most direct influence can be seen in the work of artists who followed him. Giovanni Paolo Panini, though primarily known for his vedute (view paintings) and architectural capricci, shows an affinity with Locatelli's handling of landscape elements, particularly in his earlier works. Some sources even suggest Panini may have studied with Locatelli, absorbing aspects of his approach to classical landscapes.
Gaspar Dughet, though largely a seventeenth-century figure, represents an earlier tradition of classical landscape that Locatelli built upon; conversely, Locatelli's success reinforced the appeal of this genre. Later artists like Pompeo Batoni, primarily a portraitist and history painter, occasionally incorporated landscape backgrounds that reflect the prevailing style popularized by painters like Locatelli. The Venetian painter Jacob Amigoni also shows stylistic parallels in his decorative landscape panels.
Furthermore, Locatelli's role as a teacher, though perhaps informal, contributed to his legacy. The French landscape painter Joseph Vernet, who spent considerable time in Rome, is said to have been influenced by or possibly even studied with Locatelli, inheriting aspects of his approach to light and atmosphere, which Vernet would later develop in his renowned marine and landscape paintings. The style popularized by Locatelli, characterized by idealized pastoralism and the inclusion of classical motifs, continued to resonate, with artists like Jan Frans van Bloemen carrying forward similar themes after Locatelli's death.
His role was not limited to creation; some accounts suggest Locatelli also acted as an art dealer, helping to promote the work of other artists. This multifaceted engagement with the Roman art market underscores his central position in the artistic life of the city.
Later Life and Posthumous Reputation
Despite the considerable success Locatelli enjoyed during his career, his final years were marked by hardship. He died in Rome in 1741 at the age of 46, reportedly impoverished and burdened by debt. Some biographical accounts suggest his early death may have been hastened by a chronic, degenerative illness. He seemingly left little financial estate, a surprising end for an artist who had been highly sought after by wealthy patrons.
Following his death, Locatelli's reputation experienced fluctuations. While his works remained in prestigious collections, the shifting artistic tastes of the later eighteenth and nineteenth centuries, which saw the rise of Neoclassicism and different forms of Romanticism, led to a period where his specific style was somewhat overlooked or fell out of fashion. Landscape painting itself evolved, with new approaches emerging.
However, the twentieth and twenty-first centuries have witnessed a renewed appreciation for Locatelli's art. Scholarly research and a revived interest in eighteenth-century Italian painting have brought his work back into focus. His paintings are now held in numerous museums and private collections worldwide, recognized for their technical skill, aesthetic charm, and historical significance as prime examples of Roman Settecento landscape painting.
Academic Study and Challenges
Modern scholarship on Andrea Locatelli owes much to the work of art historians dedicated to the Italian Settecento. The monograph Andrea Locatelli e il paesaggio romano del Settecento by Andrea Busiri Vici remains a foundational text, providing comprehensive analysis of his life, works, style, and context. Exhibition catalogues and auction house publications also contribute significantly to the ongoing study and documentation of his oeuvre.
Research focuses on defining his artistic personality, tracing his influences, identifying his patrons, and understanding his place within the broader European landscape tradition. Scholars analyze his techniques, his characteristic blend of idealized nature and classical elements, and his contribution to the picturesque aesthetic.
One persistent challenge in the study of Locatelli, as with many artists of his period, is the issue of attribution and authenticity. His popularity led to contemporary imitations and later forgeries. Distinguishing autograph works from those by followers or imitators requires careful connoisseurship and technical analysis, making the precise definition of his corpus an ongoing task for experts.
Conclusion
Andrea Locatelli remains a pivotal figure in the history of Italian landscape painting. Active during a vibrant period in Rome's artistic life, he skillfully synthesized the influences of past masters and contemporaries to create a distinctive and appealing style. His idealized visions of the Roman Campagna, populated with pastoral figures and evocative classical ruins, captured the imagination of patrons and travelers alike.
Though his life ended prematurely and in difficult circumstances, and his fame waned for a time, his artistic legacy endures. He played a crucial role in shaping the eighteenth-century landscape aesthetic, influencing subsequent generations of artists. Today, his paintings are admired for their lyrical beauty, technical finesse, and their embodiment of the enduring allure of the Italian landscape, forever intertwined with the echoes of antiquity. Andrea Locatelli's work offers a window onto the artistic tastes and cultural preoccupations of his time, securing his place as a true master of the Roman landscape.
