To send a message simply fill out the form below.
Enquiry from Online Galleries regarding "Italian ladies in conversation"
|If you do NOT want to receive newsletters from us regarding the antiques trade, please UNCHECK this box.|
To send this page to a friend, fill out the form below..
Look at what I found on the Online Galleries website!
In 1798 Keiserman returned to Rome and took up residence at number 31 in Piazza di Spagna. He finally set up his own studio and during this time his popularity led him to be considered one of the top artistic figures in Rome. Between 1799-1803 he met the young Bartolommeo Pinelli (1781-1835) and began a successful collaboration with him, Keiserman concentrated on the landscape painting while Pinelli completed the artist figures, though in the present pictures there is no suggestion that the figures are by Pinelli, they are complete autograph works by Keiserman. In 1806 Keiserman invited over from Switzerland his cousin Jean Francois Knébel as a figure painter, however Knébel died in 1822 and Keiserman then invited Charles Francois (1810-1877) who became his adopted son. Keiserman's clients included noblemen such as Prince Camillo Borghese, Prince Gustav of Sweden and the Russian prince Volkonskij. Keiserman's most popular subjects included the Waterfalls of Tivoli, the countryside around Colli Albani,ancient Rome and the temples in Paestum. Recent example on the market include ' View of the Colosseum' (1).
This watercolour (from a group of 8) is characterised in a fascinating article by Roberta Olson on Keiserman and Pinelli, 'Kaiserman adopted Ducro's method and developed it further. New evidence has recently surfaced to illuminate the various steps in Kaiserman's creative process, which may also shed light on Ducros' modus operandi. Just as Ducros' landscape compositions (some engraved by Volpato) established models for Kaiserman, his earl recordings of the ordinary inhabitants of Rome (populani) and peasants (contadini) created the prototypes not only for his own assistants but also for those individuals responsible fo the figures populating Kaiserman's landscapes as well as Pinelli's charming watercolours and prints of costumes and customs (costume)' (2).
The present group of eight watercolours, all signed by Keiserman, clearly show the influence of Pinelli and are closely comparable to a similar figures by Pinelli that were on the art market in 2007 (3).
Keiserman must have seen this type of drawing by Pinelli, and these are dated 1806, and the prints of this subject matter were started in 1809, so it would be logical to date this group by Keiserman to around the first decade of the 19th century.
1.Rome, Paolo Antonacci, Landscapes of the Grand Tour, from the late 18th to the 19th century, June 2011, number 3.
2.Roberta J.M.Olson, 'Are Two Really Better than One? The Collaboration of Franz Kaiserman and Bartolommeo Pinelli',pp.195-226, Master Drawings, Volume XLVIII, Number 2,2010.
3. See Crispian Riley-Smith, Drawings from 16th to 20th Century,2007, numbers 70-73.
|Height||21.30 cm||(8.39 inches)|
|Width||17.00 cm||(6.69 inches)|