Gherardo Poli stands as a fascinating, if once overlooked, figure in the rich tapestry of early 18th-century Italian art. An accomplished painter hailing from Florence, he carved a unique niche for himself, particularly within the Tuscan art scene, through his imaginative and often fantastical landscape paintings known as "capricci." His works, characterized by elaborate architectural inventions, dramatic natural settings, and lively figures, offer a window into a world where reality and fantasy seamlessly intertwine.
Early Life and Florentine Foundations
Born in Florence in 1674, Gherardo Poli emerged during a period when the grandeur of the High Baroque was gradually giving way to the lighter, more decorative sensibilities of the Rococo. Florence, though no longer the singular epicenter of the Italian Renaissance it once was, remained a vibrant artistic center, steeped in centuries of artistic innovation and tradition. It was within this environment that Poli likely received his initial artistic training. While specific details about his apprenticeship or the masters under whom he studied are not extensively documented, his later work demonstrates a solid understanding of perspective, architectural rendering, and figural composition – skills fundamental to the Italian painting tradition.
The artistic milieu of Florence at the turn of the 18th century would have exposed Poli to a variety of influences. The legacy of earlier Florentine masters, with their emphasis on disegno (design and drawing), would have been pervasive. Furthermore, the city was a crossroads, and the influence of other Italian schools, as well as trends from beyond the Alps, particularly from France, would have been felt. It is known that the works of French printmaker Jacques Callot, with their often grotesque and theatrical figures and scenes, were widely circulated and admired in Italy, and some art historians see echoes of Callot's imaginative spirit in Poli's later capricci.
The Allure of the Capriccio
Gherardo Poli is primarily celebrated for his contributions to the genre of the "capriccio." The term, Italian for "whim" or "fancy," describes a type of landscape painting, or sometimes an etching or drawing, that combines real and imaginary architectural elements within a picturesque, often pastoral or ruined, setting. Capricci were not meant to be topographically accurate depictions of specific places but rather evocative, atmospheric compositions that stimulated the imagination. This genre gained immense popularity in Italy during the 17th and 18th centuries, offering artists a departure from the strictures of religious or historical painting and allowing for greater creative freedom.
Artists like Marco Ricci, a Venetian, was an early and influential figure in developing the capriccio, often combining classical ruins with bucolic landscapes. Later, Giovanni Paolo Panini, active primarily in Rome, became a renowned master of the architectural capriccio, creating stunning vistas of ancient Roman ruins, often rearranged and juxtaposed in imaginative ways. The Venetian school, in particular, excelled in this genre, with artists like Canaletto and Francesco Guardi producing not only famous "vedute" (view paintings) but also highly imaginative capricci that captured the unique atmosphere of their city. Poli's work, though rooted in Tuscany, partakes of this broader Italian fascination with the fantastical and the picturesque.
Poli's Distinctive Vision: Architecture and Fantasy
What distinguishes Gherardo Poli's capricci is his particular blend of intricate architectural fantasies, often featuring grand, crumbling structures, with lively human figures and dramatic natural backdrops. His paintings frequently depict harbors, coastal scenes, or expansive landscapes dominated by towering, often dilapidated, classical or baroque edifices. These are not mere backdrops but active participants in the scene, their grandeur often juxtaposed with the transience suggested by their ruinous state.
His architectural inventions are complex and detailed, showcasing a keen understanding of perspective and structure, yet they are imbued with a sense of the theatrical. Arches soar, colonnades recede into the distance, and elaborate staircases invite the eye to wander through these imagined spaces. The play of light and shadow is often used to heighten the drama and create a sense of depth and atmosphere. Figures in his paintings, though small in scale compared to the architecture, are animated and serve to populate these fantastical realms, engaging in everyday activities or more enigmatic pursuits, adding a narrative or anecdotal layer to the scenes.
Poli's landscapes often possess a slightly melancholic or romantic beauty, a characteristic common to many capricci, which frequently explored themes of the passage of time and the ephemeral nature of human endeavors, symbolized by decaying monuments of past glory. His unique perspective on the Tuscan landscape, filtered through this lens of fantasy, set him apart from contemporaries who might have focused on more straightforward topographical views.
Masterworks and Artistic Output
Among Gherardo Poli's most representative works is Capriccio con figure e architettura (Capriccio with Figures and Architecture), dated to around 1708. This painting exemplifies his mature style, showcasing his adeptness at creating a compelling imaginary scene. It features the characteristic blend of imposing, somewhat fantastical architecture, a lively array of figures, and a carefully constructed atmospheric perspective that draws the viewer into the composition. Such works were highly sought after by collectors who appreciated the imaginative escape they offered.
Another notable, though less clearly documented, title attributed to him is Fantasia di architettura in rovina con l'enl... (Fantasy of Architecture in Ruins with...). The incomplete title hints at the common themes in his oeuvre. His works often depicted bustling ports, serene river landings, or dramatic coastal views, all framed by his signature architectural fantasies. For instance, Capriccio con approdo fluviale (Capriccio with a River Landing) would likely feature a tranquil waterside scene animated by boats and figures, set against a backdrop of imaginative buildings.
The scale of his works varied, but many were of a size suitable for private residences, indicating a market among the nobility and affluent bourgeoisie for these decorative and intellectually stimulating paintings. While many of his works are now in private collections, their appearance at auctions, such as the recorded sale of a Capriccio for a significant sum, attests to their enduring appeal and recognized artistic merit.
A Family Affair: Collaboration with Giuseppe Poli
An important aspect of Gherardo Poli's career was his artistic collaboration with his son, Giuseppe Poli. Giuseppe followed in his father's footsteps, also becoming a painter of capricci. Together, they formed a formidable artistic partnership in the Tuscan region, becoming some of the most distinguished practitioners of this genre. Their styles were reportedly very consistent, suggesting a close working relationship where techniques and artistic visions were shared and developed in tandem.
One such collaborative piece mentioned is Capriccio con carretto e figure (Capriccio with a Cart and Figures). This father-son collaboration likely resulted in a prolific output, further establishing the Poli family name within the realm of fantasy landscape painting. Such familial workshops were not uncommon in the history of art, allowing for the transmission of skills and styles across generations and often leading to a highly refined and consistent body of work. The shared dedication to the capriccio genre by Gherardo and Giuseppe Poli underscores its importance and appeal in 18th-century Tuscany.
Influences, Contemporaries, and Artistic Dialogue
Gherardo Poli did not operate in an artistic vacuum. As mentioned, the etchings of Jacques Callot (1592-1635), with their fantastical elements and lively, often grotesque, figures, are considered a potential source of inspiration, particularly for the imaginative scope of Poli's scenes. Callot's influence was widespread in Italy, and his prints offered a rich vocabulary of forms and compositions.
Within Italy, Poli's work can be seen in dialogue with that of other landscape and capriccio painters. Artists like Giuseppe Zais (1709-1784) and Francesco Zuccarelli (1702-1788), both of whom were active in Venice but whose works were known more widely, specialized in idyllic and pastoral landscapes, sometimes incorporating classical ruins or fantastical elements that bordered on the capriccio. Zuccarelli, in particular, gained international fame for his charming and elegant landscapes.
The broader context of capriccio painting includes figures like Alessandro Magnasco (1667-1749), known for his highly individual and dramatic style, often depicting stormy landscapes, monastic scenes, or groups of small, elongated figures in vast, eerie settings. While Magnasco's mood is often darker and more tempestuous than Poli's, they share an interest in the expressive potential of landscape and imaginative composition.
Further afield in the development of architectural fantasy, one cannot ignore Giovanni Battista Piranesi (1720-1778). Though working primarily in etching and slightly later than Poli's main period of activity, Piranesi's powerful and often nightmarish visions of Roman ruins in his Carceri d'invenzione (Imaginary Prisons) and his vedute of Rome took the architectural fantasy to new heights of drama and sublimity. While Poli's work is generally more serene, the shared interest in the evocative power of architecture, real or imagined, connects them. Other Venetian vedutisti and capriccio painters like Luca Carlevarijs and Michele Marieschi also contributed to the rich visual culture from which artists like Poli drew and to which they contributed.
Beyond the Canvas: Frescoes in Crespana
While Gherardo Poli is primarily known for his easel paintings, his artistic endeavors also extended to fresco painting. It is recorded that he created both religious and secular frescoes in the town of Crespana, located in the Pisan hills. This demonstrates a versatility beyond his specialized capricci and indicates his engagement with the more traditional forms of large-scale decorative painting common in churches and palaces.
The execution of frescoes required a different set of skills and a different approach to composition and narrative than easel painting. The subjects – religious scenes for churches, perhaps mythological or allegorical themes for secular patrons – would have demanded a different iconographic vocabulary. Unfortunately, detailed information or widespread reproductions of these Crespana frescoes are not readily available, but their existence broadens our understanding of Poli's artistic range and his activity within the local Tuscan artistic ecosystem. His willingness to undertake such commissions suggests he was a well-regarded and versatile craftsman.
A Note on Historical Identity: The Poli Name and a Steam Engine
An intriguing, though likely separate, anecdote sometimes surfaces in relation to the Poli name, concerning the introduction of James Watt's steam engine to the Royal Estate of Carditello in the Kingdom of Naples. This pioneering technological feat is attributed to a Giuseppe Saverio Poli (1746-1825), a distinguished naturalist, physicist, and physician, who was indeed active in Naples and had connections to the royal court. He was a Fellow of the Royal Society in London and a prominent figure in Neapolitan scientific circles.
It is crucial to distinguish this Giuseppe Saverio Poli, the scientist, from Gherardo Poli, the Florentine painter (1674-1739), and his son Giuseppe Poli, the painter. The timelines and fields of expertise are entirely different. Gherardo Poli the painter was deceased before James Watt's significant steam engine improvements were made in the latter half of the 18th century. The shared surname "Poli" and the Italian context can sometimes lead to confusion in historical records if not carefully examined. The story of the steam engine is a fascinating piece of scientific and industrial history in Naples, but it belongs to a different individual and a different sphere of achievement than that of the painter Gherardo Poli.
Legacy and Scholarly Rediscovery
For a considerable period, Gherardo Poli, like many skilled but not superstar artists of his era, remained somewhat in the shadows of art historical narratives, which often focused on the towering figures of each period. However, in more recent times, dedicated scholarship has begun to shed more light on artists like Poli, re-evaluating their contributions and bringing their unique talents to a wider audience.
Art historians such as Roberto Ciardi, Pierluigi Carifano, and Franco Canepa have been instrumental in researching and highlighting the work of Gherardo Poli and his son Giuseppe. Their studies have helped to reconstruct the Poli's oeuvre, clarify their artistic identities, and assert their significance within the context of 18th-century Tuscan painting, particularly in the specialized genre of the capriccio. This scholarly attention has led to a greater appreciation of the originality and technical skill evident in their works. The book Fantastiche Viste: la pittura di capriccio in Toscana (Fantastic Views: Capriccio Painting in Tuscany) is an example of the kind of focused research that brings such artists back into the conversation.
Art Historical Significance and Reception
Gherardo Poli's significance lies in his distinctive contribution to the capriccio genre, infusing it with his unique Florentine and Tuscan sensibility. His ability to create complex, imaginative architectural settings populated by lively figures demonstrates a high level of skill and a fertile imagination. His work, and that of his son, represents an important facet of landscape painting in 18th-century Tuscany, a region often more associated with its Renaissance past but which continued to foster artistic innovation.
The "controversy" or debate surrounding Poli's work, if any, likely stems from its very nature as fantastical and imaginative. Capricci, by definition, play with reality, and their sometimes "bizarre" or "exotic" elements might have made them harder to categorize within stricter academic art traditions. However, it is precisely this freedom from convention that gives the genre, and Poli's interpretation of it, its enduring appeal. His style, while perhaps influenced by French artists like Callot and in dialogue with Italian contemporaries, retained a personal character.
The consistent performance of his works in the art market, when they appear at auction, indicates a sustained interest among collectors and an acknowledgment of their aesthetic and historical value. This market recognition, coupled with renewed scholarly interest, ensures that Gherardo Poli's name and art will continue to be appreciated.
Conclusion: An Imaginative Tuscan Voice
Gherardo Poli was more than just a competent painter of his time; he was a gifted creator of imaginative worlds. His capricci transport viewers to realms where grand architecture, picturesque ruins, and the vibrancy of human life converge in scenes of poetic beauty and theatrical invention. Born in Florence and later settling in Pisa, he, along with his son Giuseppe, became a leading exponent of the fantasy landscape in Tuscany during the early 18th century.
Though once relatively obscure in the grand narratives of art history, the diligent work of scholars has helped to restore Gherardo Poli to his rightful place as a significant and original artistic voice. His paintings, with their intricate details, atmospheric depth, and imaginative scope, continue to captivate and delight, offering a testament to the enduring power of the artistic "whim" or "fancy" that defines the capriccio. His legacy is a reminder of the rich diversity of artistic expression that flourished in Italy beyond the most famous names, contributing to the enduring allure of Italian art.
