Capri 19th century Italian Countryside Landscape by Alceste Campriani 1887
Alceste Campriani, Capri 1887. Rural Neapolitan countryside landscape with a vineyard in the foreground, animated by the presence of two peasants along a path, in the left part of the composition and surrounded in the background by rocky reliefs and architectures on the right.
Oil on canvas painting, applied on cardboard, signed in the lower right corner Capri, A. Campriani 1887, by the Italian artist Alceste Campriani (Terni 1848 – Lucca 1933), an Italian painter famous for his landscapes, especially of the Neapolitan countryside.
This view of the countryside in Capri is an original natural setting for late nineteenth-century landscape painters who favored the seascapes or coastal views of Capri.
The rural landscape of Campriani is characterized by bright tones, where the almost photographic representation of the real and the descriptive elements are enveloped in a calm and stable atmosphere.
This Italian landscape of Capri is unframed, in good condition and comes from a private residence in Milan.
Alceste Campriani was born in Terni in 1848. He moved to Naples with his family and from 1862 to 1869 studied at the Regio Istituto di Belle Arti where he got to know Giuseppe De Nittis. During this period in Naples he distinguished himself in the 1869 test with his “Capodimonte”, later his work came stylistically closer to the Resina School and then became similar to the paintings of the Macchiaoli that, with their individual composition using patches of colour was in line with the artists’ photographic vision of the landscape.
His friendship with De Nittis proved to be advantageous to Campriani because he was introduced to the French merchant Goupil who employed him until 1884. This contract enabled him to get to know and therefore to work in Europe and in America. At the same time he took part in all the exhibitions held by the Società Promotrice di Belle Arti in Naples, in 1871 with “Impressione di una pioggia” (Impression of a Rainfall), “Effetto di neve” (Impression of Snow) and “Delle guerre gli errori meditate” (Pondering the Errors of War).
In 1885 he was also a member of the panel of the Società Promotrice and, his contract with Goupil having come to an end, he continued working on scenes of Naples and Venice, landscapes of Switzerland and views of Paris and London. In 1894 he took part in the 3rd. Vienna International Exhibition with “Scirocco sulla costiera di Amalfi” (Sirocco on the Amalfi Coast) purchased the following year by the Minister for Education for the Galleria Nazionale d’Arte Moderna di Roma.
At the turn of the century he worked on the decorations for the Gambrinus caffé in Naples and two allegorical works for the Palazzo della Borsa (The Stock Exchange).
From 1891 to 1921 he taught at the Accademia di Belle Arti di Lucca and from 1911 he was also director there.
Alceste Campriani died in Lucca in 1933.
height: 27 cm
width: 41 cm
Mid-20th century Italian oil on wooden Panel painting depicting a look of the Ticino River landscape in Northern Italy, by the Milanese painter Gigi Comolli, (1893-1976) signed and dated lower left G G Comolli 1946.
An example of his on the easel en plein air landscape painting. Good condition, set in a carved, painted frame decorated with gilded profiles and showing some worn parts.
Height in cm : 29.5 (45.5 frame) Width in cm : 40 (56 frame)
It comes from a Milanese private collection.
A large mountain landscape, an early 20th century oil on canvas painting depicting a mountain scenery, the Monte Rosa massif, in the Piedmont Alps, with snowy mountains on the background, a rural farm and some cows in valley in the foreground; signed lower left S. Poma (Trescore Balneario, 1840 – Turate, 1932), one of the most relevant landscape painters of late 19th century Lombard Verismo.
The Verismo (meaning "realism", from Italian vero, meaning "true") refers to a 19th-century Italian painting style. This Italian term implies extreme raw realism, without any interpretation.
This peaceful mountain and valley view comes from a private collection of a Milanese family, it showed a small canvas tear, as per detailed picture below, now restored. Set within a passe-partout and a giltwood frame, it is now in good age related condition, with some small canvas tears on the border, which could be restored relining an reinforcing the original canvas only. Anyway you do not see them since covered by the frame.
About the artist:
Silvio Poma, Trescore Balneario, Bergamo, 1840 - Turate , Como, 1932 Having served as a volunteer in the second war of independence, Poma embarked on a military career but retired from the army in 1866 after contracting malaria. On his return to Milan, he worked in the studios of the soldier-painters Giovan Battista Lelli and Gerolamo Induno, his comrades in the military campaign of 1859. He made his debut at the Esposizione di Belle Arti di Brera of 1869 but received no official recognition until halfway through the following decade. A painting of a historical subject in a broad natural setting of Romantic character won the Mylius Prize
of the Brera Academy of Fine Arts in 1876 and a landscape exhibited in Naples at the Esposizione Nazionale di Napoli was bought by Vittorio Emanuele II in 1877. Poma established his reputation as a landscape painter with a repertoire of lake views that are intimist in character while also displaying the influence of his contemporary Filippo Carcano in their realistic approach. The period from 1883 on saw an increase in activity with the systematic presentation of works at national exhibitions and lasting success on the art market.