VIVIANO CODAZZI -New

 

VIVIANO CODAZZI -New

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SUNDAY Feature on ART of Architecture -by Gautam Shah

Viviano Codazzi (1604-1670) was a Baroque period Italian architectural painter. He is known for compositions of ruins, in Capricci¹ and some in Vedute² style. He worked during 17^th with naturalism, for scenes of villages or ancient ruins, but allowed others (Domenico Gargiulo) to fill in figures.

1 > Capricci = In painting, a Capriccio means presentation of archaeological ruins, other architectural elements and landscapes in fictional and often in a fantastical manner, and may include human figures.

2 > Vedute = A veduta is a highly detailed and accurate depiction, usually large-scale painting of a city-scape or some vista. Venice was popular with artists for such works.

In later periods, the Vedute morphed into the scenes partly or completely of imaginary elements, known as ‘capricci and vedute ideate or veduta di fantasia’. In 19^th C the Vedute became more impression-based, and used perspective and photographic tools.

The predecessors of Capricci and Vedute styles were decorative architectural scenes of 16^th C included in large-scale frescoes and ceilings called Quadratture. Capricci style was practised besides Viviano Codazzi, by Domenico Gargiulo, Marco Ricci, and Alessandro Salucci.

Viviano Codazzi collaborated with Dutch and Flemish painters, then active in Rome like, Michelangelo Cerquozzi, Jan Miel, Filippo Lauri, Adriaen van der Cabel and Vicente Giner. Painter Artemisia Gentileschi asked Viviano Codazzi to paint architectural backgrounds in a number of her paintings.

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HENDRICK FRANS VAN LINT

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SUNDAY Feature on ART of Architecture -by Gautam Shah

Hendrick Frans van Lint (1684-1763) was a Flemish landscape and vedute painter. He was part of the group of Flemish and Dutch painters then active in Rome. He was born in Antwerp but at young age left for Rome (sometime between 1697-1700).

Art technique of Hendrick was meticulous one. He worked with extensive preparatory site work, as sketches and studies, in pencil, pen and wash. He used to develop full-scale compositions on canvas, and then added ruins and classical buildings to substantiate the topical imaginary. On one hand, he worked with idealized natural landscapes, and also near-realistic scenes of towns. In later part of the career, he began to paint everything in Rome, and this resulted in some daring views. 

 

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