{"id":12128,"date":"2022-03-16T11:58:41","date_gmt":"2022-03-16T11:58:41","guid":{"rendered":"https:\/\/galleriaborghese.beniculturali.it\/en\/?p=12128"},"modified":"2022-03-25T12:30:57","modified_gmt":"2022-03-25T12:30:57","slug":"guido-reni-landscape-painting-in-rome","status":"publish","type":"post","link":"https:\/\/galleriaborghese.cultura.gov.it\/en\/guido-reni-landscape-painting-in-rome\/","title":{"rendered":"Guido Reni &#8211; Landscape painting in Rome"},"content":{"rendered":"<figure style=\"width: 400px\" class=\"wp-caption alignright\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/galleriaborghese.cultura.gov.it\/en\/wp-content\/uploads\/guido-reni-3.jpg\" alt=\"\" width=\"400\" height=\"601\" \/><figcaption class=\"wp-caption-text\">Installation view of the exhibition Guido Reni and Rome. Nature and Devotion<\/figcaption><\/figure>\n<p><span style=\"font-weight: 400;\">1601-1614. Alone in a big city, but with eyes wide open. This is how Guido appears to us in his Roman years: he does not forge deep ties with other artists, although he is interested in the novelties of a context so rich in ideas and new languages. These were the years of intense debate on the \u201cnatural\u201d, on the possibility of drawing and painting from life. One of the areas in which artists put themselves to the test in representing the surrounding world and the concept of imitation, already at the basis of the artistic theory of Humanism, was undoubtedly landscape painting, considered a specialization of the northern Europeans, but which in Rome, in the early seventeenth century, became a common area for experimentation. Annibale Carracci, Francesco Albani, Domenichino, and in particular two collaborators of Annibale, Pietro Paolo Bonzi and Giovan Battista Viola, all made a significant contribution to the success of landscape painting, at the service of the two great promoters and purchasers of this genre, the cardinals Pietro Aldobrandini and Odoardo Farnese. Guido also frequented the Flemish Paul Bril, who had been in Rome for over forty years, a figure of great importance in the exploration of rural themes and inventor of other \u201clandscape subgenres\u201d, such as coastal scenes, a particularly successful example of which is on show in the Galleria Borghese, the <\/span><i><span style=\"font-weight: 400;\">View of a Harbour<\/span><\/i><span style=\"font-weight: 400;\">, in the entrance to the picture gallery.<\/span><\/p>\n<p class=\"p1\"><span style=\"font-weight: 400;\">These are the premises for understanding the articulated, stimulating melting pot which welcomed Guido as he embarked on the painting of \u201ccountry scenes\u201d, and which the exhibition aims to evoke in the great Lanfranco Loggia by showing the many potential perspectives from which these works may be approached. We can start with the precursors in Emilia, such as Niccol\u00f2 dell\u2019Abate, followed by the Carraccis and onwards to the balanced, naturalistic works of Giovan Francesco Grimaldi, from the late 1670s. We can also observe how Paul Bril and his followers effected a meeting between the universal landscape of the North, a true catalogue of natural things, and the \u201cconflictual and confused\u201d scenes of the Italian tradition. The visitor will also have a chance to appreciate the advanced literary experiments of artists from Bologna, with the four <\/span><i><span style=\"font-weight: 400;\">tondi<\/span><\/i><span style=\"font-weight: 400;\"> by Albani, commissioned by Scipione Borghese himself, or with a mature landscape by Domenichino, the <\/span><i><span style=\"font-weight: 400;\">Landscape with Silvia and Satyr<\/span><\/i><span style=\"font-weight: 400;\">, which displays an ongoing attraction for this genre developed many decades previously. Furthermore, in Domenichino\u2019s astonishing <\/span><i><span style=\"font-weight: 400;\">Diana and the Nymphs<\/span><\/i><span style=\"font-weight: 400;\">, in the Helen and Paris Room a few steps from the Loggia, the landscape evolves into another, more grandiloquent language, and moves towards a compositional complexity in which the force of the human presence establishes a new code for a mythological scene set in nature, and for the connection between the world of images and that of the viewer, recalled within the painting by the looks and gestures of nymphs and shepherds. <\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>1601-1614. Alone in a big city, but with eyes wide open. This is how Guido appears to us in his Roman years: he does not forge deep ties with other artists, although he is interested in the novelties of a context so rich in ideas and new languages. These were the years of intense debate [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":12097,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[48],"tags":[],"class_list":["post-12128","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-approfondimenti"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.9 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Guido Reni - Landscape painting in Rome - Galleria Borghese<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/galleriaborghese.cultura.gov.it\/en\/guido-reni-landscape-painting-in-rome\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Guido Reni - Landscape painting in Rome - Galleria Borghese\" \/>\n<meta property=\"og:description\" content=\"1601-1614. Alone in a big city, but with eyes wide open. This is how Guido appears to us in his Roman years: he does not forge deep ties with other artists, although he is interested in the novelties of a context so rich in ideas and new languages. These were the years of intense debate [&hellip;]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/galleriaborghese.cultura.gov.it\/en\/guido-reni-landscape-painting-in-rome\/\" \/>\n<meta property=\"og:site_name\" content=\"Galleria Borghese\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/galleriaborgheseufficiale\" \/>\n<meta property=\"article:published_time\" content=\"2022-03-16T11:58:41+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-03-25T12:30:57+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/galleriaborghese.cultura.gov.it\/en\/wp-content\/uploads\/guido-reni-3-anteprima.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1000\" \/>\n\t<meta property=\"og:image:height\" content=\"1000\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"user_ost\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@GallBorghese\" \/>\n<meta name=\"twitter:site\" content=\"@GallBorghese\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"user_ost\" \/>\n\t<meta name=\"twitter:label2\" content=\"Estimated reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"3 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/galleriaborghese.cultura.gov.it\/en\/guido-reni-landscape-painting-in-rome\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/galleriaborghese.cultura.gov.it\/en\/guido-reni-landscape-painting-in-rome\/\"},\"author\":{\"name\":\"user_ost\",\"@id\":\"https:\/\/galleriaborghese.cultura.gov.it\/en\/#\/schema\/person\/724a109ffb2965d4b51209063f7ead95\"},\"headline\":\"Guido Reni &#8211; 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