Vista on the Tor Sapienza, Facing towards the Mountains of Tivoli; Sketches of Buildings 1674 - 1736

Editor: Caspar van Wittel's pencil drawing, "Vista on the Tor Sapienza, Facing towards the Mountains of Tivoli; Sketches of Buildings", created sometime between 1674 and 1736, seems like an artist's working document. It's got a gridded section and seemingly random building sketches. What do you make of this piece? Curator: This isn't just a random assortment; it’s a glimpse into the 18th-century artistic process, and into the patronage system supporting artistic endeavors. These plein air sketches—done on location—would have formed the basis for larger, finished vedute paintings sold to wealthy tourists eager to possess a piece of the Grand Tour experience. Editor: Ah, so it's like an early version of a tourist snapshot, but made into high art? Curator: Exactly! Van Wittel, also known as Vanvitelli, essentially invented the modern veduta. He wasn’t just recording what he saw; he was carefully composing scenes to appeal to his patrons. The seemingly random sketches and the grid… Editor: Are they like guidelines? Curator: Precisely! The grid aided in accurately transferring the sketch onto a larger canvas. And notice the choice of subject—the Tor Sapienza. Editor: I don't know that location… Curator: It wasn't a major historical site. By focusing on this, and other somewhat overlooked spots, van Wittel was crafting a new visual language for Rome, one that catered to a growing market interested in the picturesque, rather than grand, historical narratives. Think of it as a shift in the power of imagery, catering to new tastes and economic realities. Editor: So it's a market-driven perspective on the urban landscape of its time. That gives me a lot to think about, particularly as urban landscapes keep changing! Curator: Indeed! Seeing it as a carefully constructed product responding to very specific cultural and economic forces gives us much greater insights into the work.