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Ruins and figures, Outskirts of Rome Near the Tomb of Cecilia Metella, c
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Ruins and figures, Outskirts of Rome Near the Tomb of Cecilia Metella, c
TW426625 Ruins and figures, Outskirts of Rome Near the Tomb of Cecilia Metella, c.1750-1775 (oil on canvas) by Bellotto, Bernardo (1720-80) (attr. to); 71.2x92.2 cm; Shipley Art Gallery, Gateshead, Tyne & Wear, UK; (add.info.: Entitled Ruins and figures - Outskirts of Rome Near the Tomb of Cecilia Metella or Capriccio of Ruins and Classical Buildings; ); eTyne & Wear Archives & Museums; Italian, out of copyright
Media ID 23182426
© Tyne & Wear Archives & Museums / Bridgeman Images
Arches Italian Landscape Remains Rubble
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This print showcases the mesmerizing artwork titled "Ruins and figures, Outskirts of Rome Near the Tomb of Cecilia Metella" by Bernardo Bellotto. Painted between 1750-1775, this oil on canvas masterpiece measures 71.2x92.2 cm and is housed in the Shipley Art Gallery in Gateshead, Tyne & Wear, UK. The painting transports viewers to the outskirts of Rome, where they are greeted with a scene that combines both reality and imagination. The ruins of classical buildings stand tall amidst a backdrop of arches and rubble, creating an atmosphere steeped in history and mystery. Intriguingly, figures can be seen scattered throughout the landscape - perhaps lost souls wandering through time or mere visitors exploring these ancient remnants. A dog stands faithfully beside one figure as they traverse this evocative terrain. Bellotto's attention to detail is evident in every brushstroke; he captures the essence of 18th-century Italian landscapes flawlessly. This particular work exudes a sense of tranquility despite its depiction of decay and destruction. As we admire this remarkable piece from Fine Art Finder's collection provided by Bridgeman Images, we are reminded that art has the power to transport us to different eras and evoke emotions within us. It serves as a timeless reminder that even amidst ruins, beauty can still be found if we take the time to truly see it.
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