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I CAMUCCINI
TRA NEOCLASSICISMO E SENTIMENTO ROMANTICO, 30 September - 28 October 2021
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I CAMUCCINI: TRA NEOCLASSICISMO E SENTIMENTO ROMANTICO

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Overview
I CAMUCCINI, TRA NEOCLASSICISMO E SENTIMENTO ROMANTICO

I CAMUCCINI

TRA NEOCLASSICISMO E SENTIMENTO ROMANTICO

AN INTERNATIONAL EXHIBITION CELEBRATES TWO MAJOR ITALIAN ARTISTS

 

Two galleries and three events in the European capitals of art – Rome and Paris – for a single large travelling exhibition with an international tone, dedicated to the undisputed protagonist of Roman Neoclassicism, Vincenzo Camuccini, and his son Giovanni Battista, a sensitive interpreter of the romantic landscape painted en plein air.

“I Camuccini. Tra Neoclassicismo e sentimento romantico” is the exhibition with which Antonacci Lapiccirella Fine Art of Rome and Maurizio Nobile Fine Art of Paris (which also have branches in Bologna and Milan) will be opening their new exhibition season. An event which unites not only these two galleries but also the prestigious European capitals that host them, where the neoclassical ideal was born and found fertile ground between the mid-eighteenth century and the early decades of the nineteenth century. 

 

The exhibition will begin at the Antonacci Lapiccirella Fine Art Gallery in Rome. In its second appointment, and the first in Paris, the exhibition will be hosted by the renowned Galerie Eric Coatalem, as a part of the Fine Arts Paris international fair, to then continue at Maurizio Nobile Fine Art.

 

1 October - 28 October 2021 | opening: 30 September

Antonacci Lapiccirella Fine Art, Rome

 

5 - 11 November 2021 | opening: 4 November

at Galerie Eric Coatalem, Paris

 

16 November - 18 December 2021 | opening: 15 November

Maurizio Nobile Fine Art, Paris 
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Works
  • VINCENZO CAMUCCINI The departure of Atilius Regulus, c. 1802
    VINCENZO CAMUCCINI
    The departure of Atilius Regulus, c. 1802
  • VINCENZO CAMUCCINI Portrait of Maria Luisa de Bourbon, 1817 ca.
    VINCENZO CAMUCCINI
    Portrait of Maria Luisa de Bourbon, 1817 ca.
  • VINCENZO CAMUCCINI Appius Claudius. Sketch for the left-hand side of 'Death of Virginia', c. 1802
    VINCENZO CAMUCCINI
    Appius Claudius. Sketch for the left-hand side of 'Death of Virginia', c. 1802
  • VINCENZO CAMUCCINI Ecuba scopre il cadavere del figlio Polidoro

    VINCENZO CAMUCCINI

    Ecuba scopre il cadavere del figlio Polidoro

  • VINCENO CAMUCCINI Alceo, Corinna, Petrarca, Anacreonte e Saffo

    VINCENO CAMUCCINI

    Alceo, Corinna, Petrarca, Anacreonte e Saffo 

  • VINCENZO CAMUCCINI Paesaggio classico con figure

    VINCENZO CAMUCCINI

    Paesaggio classico con figure

  • VINCENZO CAMUCCINI Ingrasso di Malatesta Baglioni in Perugia

    VINCENZO CAMUCCINI

    Ingrasso di Malatesta Baglioni in Perugia

  • VINCENZO CAMUCCINI La lupa capitolina

    VINCENZO CAMUCCINI

    La lupa capitolina

  • VINCENZO CAMUCCINI La morte di Cesare

    VINCENZO CAMUCCINI

    La morte di Cesare

  • VINCENZO CAMUCCINI Morte di Virginia

    VINCENZO CAMUCCINI

    Morte di Virginia

  • VINCENZO CAMUCCINI Testa di Signifero

    VINCENZO CAMUCCINI

    Testa di Signifero 

  • VINCENZO CAMUCCINI San Simone

    VINCENZO CAMUCCINI

    San Simone

  • VINCENZO CAMUCCINI Studio di panneggio della Vergine

    VINCENZO CAMUCCINI 

    Studio di panneggio della Vergine

  • VINCENZO CAMUCCINI Figura di dannato

    VINCENZO CAMUCCINI

    Figura di dannato 

  • VINCENZO CAMUCCINI Inebriated Bacchante
    VINCENZO CAMUCCINI
    Inebriated Bacchante
  • VINCENZO CAMUCCINI Foot studies
    VINCENZO CAMUCCINI
    Foot studies
  • VINCENZO CAMUCCINI Gli Evangelisti Giovanni e Marco

    VINCENZO CAMUCCINI

    Gli Evangelisti Giovanni e Marco

  • VINCENZO CAMUCCINI Gli Evangelisti Matteo e Luca

    VINCENZO CAMUCCINI

    Gli Evangelisti Matteo e Luca

  • VINCENZO CAMUCCINI Tra Apostoli

    VINCENZO CAMUCCINI 

    Tra Apostoli

  • VINCENZO CAMUCCINI Madre e figlia esultanti

    VINCENZO CAMUCCINI 

    Madre e figlia esultanti

  • VINCENZO CAMUCCINI Forearm and hand
    VINCENZO CAMUCCINI
    Forearm and hand
  • VINCENZO CAMUCCINI Dorsal region, shoulder, arm, forearm and hand
    VINCENZO CAMUCCINI
    Dorsal region, shoulder, arm, forearm and hand
  • VINCENZO CAMUCCINI Hip, thigh, knee, leg and foot
    VINCENZO CAMUCCINI
    Hip, thigh, knee, leg and foot
  • VINCENZO CAMUCCINI Thigh, knee, leg and foot
    VINCENZO CAMUCCINI
    Thigh, knee, leg and foot
  • VINCENZO CAMUCCINI Studio del Cristo morto e di Nicodemo

    VINCENZO CAMUCCINI 

    Studio del Cristo morto e di Nicodemo

  • VINCENZO CAMUCCINI Studio del Cristo Morto e di Figura

    VINCENZO CAMUCCINI

    Studio del Cristo Morto e di Figura

  • GIOVANNI BATTISTA CAMUCCINI Notturno sul lago di Albano dalla chiesa dei riformati, c. 1840
    GIOVANNI BATTISTA CAMUCCINI
    Notturno sul lago di Albano dalla chiesa dei riformati, c. 1840
  • GIOVANNI BATTISTA CAMUCCINI Paesaggio con tre alberi, c. 1840
    GIOVANNI BATTISTA CAMUCCINI
    Paesaggio con tre alberi, c. 1840
  • GIOVANNI BATTISTA CAMUCCINI Studio di albero, c. 1840
    GIOVANNI BATTISTA CAMUCCINI
    Studio di albero, c. 1840
  • GIOVANNI BATTISTA CAMUCCINI Rocchette in Sabina. Santa Maria dei Monti, c. 1840
    GIOVANNI BATTISTA CAMUCCINI
    Rocchette in Sabina. Santa Maria dei Monti, c. 1840
  • GIOVANNI BATTISTA CAMUCCINI San Paolo in Albano dal convento dei Cappuccini, c. 1840
    GIOVANNI BATTISTA CAMUCCINI
    San Paolo in Albano dal convento dei Cappuccini, c. 1840
  • GIOVANNI BATTISTA CAMUCCINI Sbocco dell'emissario del lago di Albano alle mole di Castel Gandolfo , c. 1840
    GIOVANNI BATTISTA CAMUCCINI
    Sbocco dell'emissario del lago di Albano alle mole di Castel Gandolfo , c. 1840
  • GIOVANNI BATTISTA CAMUCCINI Scorcio del lago di Albano dal sentiero per Palazzolo, c. 1840
    GIOVANNI BATTISTA CAMUCCINI
    Scorcio del lago di Albano dal sentiero per Palazzolo, c. 1840
  • GIOVANNI BATTISTA CAMUCCINI Sentiero nel bosco, c. 1840
    GIOVANNI BATTISTA CAMUCCINI
    Sentiero nel bosco, c. 1840
  • GIOVANNI BATTISTA CAMUCCINI Il cosiddetto Bosco Sacro nella valle della Caffarella, c. 1840
    GIOVANNI BATTISTA CAMUCCINI
    Il cosiddetto Bosco Sacro nella valle della Caffarella, c. 1840
Press
  • ART CRITIQUE

    August 2, 2021
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  • ANSA ViaggiArte

    ANSA

    September 21, 2021
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  • FINESTRE SULL'ARTE

    September 21, 2021
  • ARTE.GO

    September 27, 2021
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  • ANTIQUARIATO

    September 29, 2021
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  • ARSLIFE

    September 29, 2021
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  • GIORNALE DELL'ARTE

    October 1, 2021
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  • ARTE.IT

    October 6, 2021
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  • CORRIERE DELLA SERA

    October 6, 2021
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  • IL MESSAGGERO

    October 6, 2021
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  • AVVENIRE

    October 8, 2021
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  • L'OBJECT D'ART

    November 1, 2021
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  • PARIS DIARY BY LAURE

    November 7, 2021
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  • CONNAISSANCE DES ARTS

    November 8, 2021
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  • Coupe-File Art

    November 10, 2021
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  • LA TRIBUNE DE L'ART

    November 30, 2021
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  • LE CURIEUX DES ARTS

    December 2, 2021
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  • IL SOLE 24ORE

    December 12, 2021
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Press release

The exhibition includes a selection of over fifty works through which the artistic story of the two Camuccini will be narrated. Starting with Vincenzo’s long and glorious career, which led him to become one of the greatest exponents of European Neoclassicism, as well as a witness to one of the most intense periods in the history of Rome. In fact, his work was deeply influenced by the political milieu of the capital, in which he was actively engaged.

Vincenzo’s pictorial style changed when he found a clear role for himself, that of an interpreter and witness of the Empire and the Restoration, when he also came to a realization and to believe less in the belief that the Athens of Pericles and the Rome of the virtuous times could survive in the Republic.

And so an overall appraisal of who Camuccini really was becomes compelling. An appraisal which this exhibition will attempt to afford through the works on display, including an extraordinary series of unpublished drawings dating back to the artist’s formative period which saw the young Vincenzo first practise on the works of the great masters of the past and later improve his own inventiveness by attending the Accademia dei Pensieri, founded in the capital by Felice Giani in the early 1790s.

 

In the exhibition, the Roman history paintings enjoy pride of place – it was thanks to these that Camuccini won international acclaim, and in the capital was rapidly considered their most modern interpreter in comparison with the conventional late-eighteenth-century interpretation used hitherto. Among these works stands out Appius Claudius, a sketch for the monumental Death of Virginia (Naples, Capodimonte Museum) commissioned by Frederick August Hervey, Bishop of Derry and 4th Earl of Bristol, and the Departure of Atilius Regulus painted for the Duke of Blacas. The exhibition is rounded off by a series of religious studies related to ecclesiastical commissions, such as the Saints Simon and Jude for an altar of St. Peter’s Basilica in the Vatican.

The exhibition is also entrusted with telling the story of Giovanni Battista Camuccini’s landscape vocation – whose historical-artistic relevance reached beyond national borders, to the point that many of his works are kept in leading foreign museums, including the National Gallery in London, the Metropolitan of New York and the Toledo Art Museum – through a series of captivating views of the Lazio countryside. A vocation developed in the wake of the specialist Giambattista Bassi (1784-1852), who in Rome revived the tradition of the classic seventeenth-century landscape, soon becoming one of the leading interpreters of painting inspired by nature. Under his guidance, Camuccini began painting en plein air, becoming acquainted with the circle of painters influenced by the precepts of Pierre-Henri de Valenciennes (1750-1819), such as Gilles-François Closson (1796-1842), Achille-Etna Michallon (1796-1822) and George Augustus Wallis (1770-1847). Giovanni Battista mainly depicted the countryside around Rome and the areas near Lake Albano, where he routinely went on holiday with his family.

Like many other painters dedicated to the plein air technique, Giovanni Battista was fascinated by the effects of light on lakescapes and by the warm-hued views typical of the Lazio countryside and, in strict adherence to Valenciennes’ precepts, he also devoted time to studying such naturalistic details as individual trees and plants, as documented by some of the paintings in the exhibition.
His activity as a landscape artist continued until the early 1850s, when he decided to abandon it and devote himself exclusively to taking care of his family affairs.

 
CATALOGUE

The exhibition will be accompanied by a catalogue published by SAGEP - Genoa. Essay by Dr. Stefano Bosi, art historian and specialist of the period.

Number of pages: 96 pages. All the works exhibited are reproduced. Price 25 euros.

 

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Virtual Exhibition

 

 

Installation Views
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