View of the Piazza del Popolo, Rome
Framed: 43 7/8 x 58 11/16 inches (111.44 x 149.07 cm)
- 122
Pictures from the Grand Tour, Colnaghi’s, London, November 14-December 16, 1978, no. 26.
City Views, The Nelson-Atkins Museum of Art, Kansas City, MO, May 31-July 10, 1983, no. 21.
Art, Commerce, Scholarship: A Window onto the Art World—Colnaghi 1760 to 1984, Colnaghi’s, London, November 7-December 15, 1984, no. 29.
A Bountiful Decade: Selected Acquisitions, 1977-1987, The Nelson-Atkins Museum of Art, Kansas City, MO, October 14-December 6, 1987, no. 46.
The Splendor in 18th century Rome, Philadelphia Museum of Art, March 16-May 28, 2000; Museum of Fine Arts, Houston, June 25-September 17, 2000, no. 270.
Giovanni Paolo Panini’s topographical
views of Rome are among the finest of the 18th century. The Piazza del Popolo
was the principal entry point into the city for travelers coming from the
North. In the center of the Piazza is the red granite obelisk brought to Rome
by the Emperor Augustus (63 B.C.E.–14 C.E.). Behind the obelisk, between the
two churches, lies the Via del Corso, a major thoroughfare of the city. To the
far left are the Villa Medici, today the seat of the French Academy, and the
Church of Trinità dei Monti with its two towers.
Sir Thomas Lucas, 1st Baronet (1822-1902), Ashtead Park, Surrey, and London, by June 7, 1902;
Purchased at his posthumous sale, The important collection of modern pictures and water colour drawings of the English and continental schools of Sir Thomas Lucas, Bart., Christie, Manson and Woods, London, June 7-9, 1902, lot 280, by John Lewis Rutley, Jr., for Major Arthur Cecil Tempest (1837-1920), Broughton Hall, Skipton, Yorkshire, 1902-1920 [1];
By descent to his son, Brigadier-General Roger Tempest (1876-1948), Broughton Hall, Skipton, Yorkshire, 1920-1948;
By descent to his grandson, Captain Stephen Tempest (d. 1970), Broughton Hall, Skipton, Yorkshire, 1948-1970;
Purchased at his sale, Important Old Master Paintings, Sotheby’s, London, November 25, 1970, lot 13, by David M. Koetser Gallery, Zurich, 1970-at least 1972;
O. Zeier, Umbricht, Dietikon, Switzerland, by 1973;
With Herner Wengraf Gallery, London, by 1973;
Purchased from Wengraf by P. and D. Colnaghi, London, stock no. Parthenon A26, 1973 [2];
Purchased from Colnaghi by The Nelson-Atkins Museum of Art, Kansas City, MO, 1979.
NOTES:
[1] John Lewis Rutley of The Reynolds Galleries, London, was Major Tempest’s agent. See letter from Rutley to Tempest, June 11, 1902, NAMA curatorial files.
[2] Colnaghi Archive, Waddesdon Archive at Windmill Hill, Stock files series.
Catalogue of the Important Collection of Modern Pictures and Water Colour Drawings of the English and Continental Schools of Sir Thomas Lucas, Bart (London: Christie, Manson and Woods, June 7 and 9, 1902), 40.
Christopher Hussey, “Broughton Hall, Yorkshire-II,” Country Life 107, no. 2777 (April 7, 1950): 958.
Christopher Hussy, English Country Houses: Late Georgian 1800-1840 (London: Country Life Ltd, 1958), 94.
Advertisement, Apollo 92 (1970): 132, (repro.).
Advertisement, The Burlington Magazine 112 (1970): xxvii, (repro.).
Advertisement, Connoisseur 175 (1970): unpaginated, (repro.).
Catalogue of Important Old Master Paintings (London: Sotheby & Co, November 25, 1970), 13, (repro.).
Andrea Busiri Vici, Andrea Locatelli e il paesaggio romano del settecento (Rome: Ugo Bozzi Editore, 1976), 23, 239, (repro.).
The Toledo Museum of Art: European Paintings (Toledo, OH: The Toledo Museum of Art, 1976), 123.
Pictures from the Grand Tour, exh. cat. (London: Colnaghi, 1978), unpaginated, (repro.).
Edgar Peters Bowron, “A View of the Piazza del Popolo, Rome by Giovanni Paolo Panini,” Bulletin (The Nelson Gallery and Atkins Museum) 5 (January 1981): 37-55.
Ross E. Taggart and Roger Ward, City Views, exh. cat. (Kansas City, MO: The Nelson-Atkins Museum of Art, 1983), 5, 11, 27, (repro.).
Art, Commerce, Scholarship: A Window onto the Art World-Colnaghi 1760 to 1984, exh. cat. (London: Colnaghi, 1984), 127-29, (repro.).
Ferdinando Arisi, Gian Paolo Panini e i fasti della Roma del ’700, 2nd ed. (Rome: Ugo Bozzi, 1986), 134, 300, 385.
Roger Ward, ed., A Bountiful Decade: Selected Acquisitions, 1977-1987, exh. cat. (Kansas City, MO: Nelson-Atkins Museum of Art, 1987), 112, 113, (repro.).
Ferdinando Arisi, Gian Paolo Panini (Soncino, IT: Edizioni dei Soncino, 1991), 132, 134.
Nicholas H. J. Hall, ed., Colnaghi in America: A Survey to Commemorate the First Decade of Colnaghi New York (New York: Colnaghi, 1992), 129.
Ferdinando Arisi, Giovanni Paolo Panini, 1691-1765, exh. cat. (Piacenza, Palazzo Gotico, 1993), 42, 43, (repro.).
Michael Churchman and Scott Erbes, High Ideals and Aspirations: The Nelson-Atkins Museum of Art, 1933-1993 (Kansas City, MO: Nelson-Atkins Museum of Art, 1993), 99.
Cara D. Denison, Myra Nan Rosenfeld and Stephanie Wiles, Exploring Rome: Piranesi and His Contemporaries, exh. cat. (New York: Pierpont Morgan Library, 1993), 164-65, (repro.).
Roger Ward and Patricia J. Fidler, eds., The Nelson-Atkins Museum of Art: A Handbook of the Collection (New York: Hudson Hills Press, in association with Nelson-Atkins Museum of Art, 1993), 185, (repro.).
Marilyn Stokstad, Art History (New York: Harry N. Abrams, 1995), 933, (repro.).
Eliot W. Rowlands, The Collection of the Nelson-Atkins Museum of Art: Italian Paintings 1300-1800, (Kansas City, MO: The Nelson-Atkins Museum of Art, 1996), 21, 405-412.
Edgar Peters Bowron and Joseph J Rishel, Art in Rome in the eighteenth century (Philadelphia: Philadelphia Museum of Art, 2000), 421-23.
Wendy Wassying Roworth, “Rethinking Eighteenth-Century Rome: The Splendor of Eighteenth Century Rome,” review of Art in Eighteenth-Century Rome, by Edgar Peters Bowron and Joseph J. Rishel, eds., The Art Bulletin 83, no. 1 (March 2001): 138-139, (repro.).
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