Date
1820
Object Type
Painting
Subject
View of a road near Ariccia, Castelli Romani
Holding institution
Accademia di Belle Arti di Brera. On long-term loan to the Circolo Ufficiali, Milan, since 2020
About The Work
The painting entered the collection through the bequest of Stefano Stampa in 1900. Long attributed to Massimo d'Azeglio, it has been correctly reassigned to the Dutch painter Abraham Teerlink following the discovery of the inscription "[…] herlink Roma 1820" on the canvas during a cleaning carried out in 2002 by Carlotta Beccaria & C. Studio di Restauro.
A member of the Dordrecht Society of Drawing and Painting, Teerlink moved to Paris in 1807 to further his training under Jacques-Louis David, before settling permanently in Rome, where he lived until 1857. Having been appointed professor at the Accademia di San Luca, he played an active role in the Roman artistic community, forming connections with prominent figures such as Vincenzo Camuccini, Pietro Tenerani, and Bertel Thorvaldsen. He also enjoyed a relationship of mutual esteem and friendship with Massimo d’Azeglio.
In those years, landscape painters were increasingly engaged in painting en plein air, and Ariccia, situated in the in the Alban Hills, near Rome, was a key stopping place on their itineraries. The Locanda Martorelli welcomed artists from across Europe there, providing a privileged setting for exchange and dialogue. In this lively climate of interaction and experimentation, Teerlink likewise directed his artistic practice towards a more attentive and nuanced depiction of the natural and atmospheric qualities of the Roman countryside, filtered through the subtle light effects characteristic of the great tradition of seventeenth-century Dutch painting.
A member of the Dordrecht Society of Drawing and Painting, Teerlink moved to Paris in 1807 to further his training under Jacques-Louis David, before settling permanently in Rome, where he lived until 1857. Having been appointed professor at the Accademia di San Luca, he played an active role in the Roman artistic community, forming connections with prominent figures such as Vincenzo Camuccini, Pietro Tenerani, and Bertel Thorvaldsen. He also enjoyed a relationship of mutual esteem and friendship with Massimo d’Azeglio.
In those years, landscape painters were increasingly engaged in painting en plein air, and Ariccia, situated in the in the Alban Hills, near Rome, was a key stopping place on their itineraries. The Locanda Martorelli welcomed artists from across Europe there, providing a privileged setting for exchange and dialogue. In this lively climate of interaction and experimentation, Teerlink likewise directed his artistic practice towards a more attentive and nuanced depiction of the natural and atmospheric qualities of the Roman countryside, filtered through the subtle light effects characteristic of the great tradition of seventeenth-century Dutch painting.
Title
Strada presso Ariccia
Creator
Abraham Teerlink
Subject
View of a road near Ariccia, Castelli Romani
Object Type
Painting
Original Function
Collection
Date
1820
Technique / Support
Oil on canvas
Dimensions
cm 89 x 128.5
Acquisition
Bequest Stefano Stampa, 1900
Holding institution
Accademia di Belle Arti di Brera. On long-term loan to the Circolo Ufficiali, Milan, since 2020
Inventory number
Inv. 1980, 121
Bibliography
Ghibaudi, Cecilia. Entry no. 32. In Pinacoteca di Brera. Dipinti dell’Ottocento e del Novecento. Collezioni dell’Accademia e della Pinacoteca, vol. 1, Musei e Gallerie di Milano. Milano: Mondadori Electa, 1993. 48-49, ill. (attributed to Massimo d'Azeglio).
Grana, Francesca, Ruffino, Maria Paola and Zanardo, Donatella. Entry no. 11. In Massimo d’Azeglio e l’invenzione del paesaggio istoriato, exhibition catalogue (Torino, Galleria d’Arte Moderna, 8 November 2002 - 23 February 2003), edited by Virginia Bertone. Torino: Fondazione Torino Musei 2002. 241, 133 ill.
Grana, Francesca, Ruffino, Maria Paola and Zanardo, Donatella. Entry no. 11. In Massimo d’Azeglio e l’invenzione del paesaggio istoriato, exhibition catalogue (Torino, Galleria d’Arte Moderna, 8 November 2002 - 23 February 2003), edited by Virginia Bertone. Torino: Fondazione Torino Musei 2002. 241, 133 ill.
Conservation status
Fair
Restoration history
Conservation work carried out in 2002 by Carlotta Beccaria & C. Studio di Restauro
Supervisory Authority: Superintendence of Archaeology, Fine Arts and Landscape for the Metropolitan City of Milan
Internal scientific director: Brera Academy of Fine Arts, Chiara Nenci
Technical director / Qualified restorer: Carlotta Beccaria & C. Studio di Restauro
Supervisory Authority: Superintendence of Archaeology, Fine Arts and Landscape for the Metropolitan City of Milan
Internal scientific director: Brera Academy of Fine Arts, Chiara Nenci
Technical director / Qualified restorer: Carlotta Beccaria & C. Studio di Restauro
Unique identifier
0300663649