Or, Why I Generally Avoid 19th Century Subjects
|Tempietto dell'Acquedotto del Nottolini, Afternoon|
I admit, I have a conflict: I generally avoid anything to do with the nineteenth century when I’m painting in Italy, but my paintings are heavily influenced by the plein air painters of the nineteenth century. A problem? First, to clarify: 1. The reason I avoid nineteenth century subjects is my training and conviction that what you spend time looking at, drawing, and painting, works its way into your head and shapes your taste (or call it what you will)—and I think the nineteenth century is when architecture lost its way (actually, maybe beginning in the late eighteenth century, but that’s also why I don’t listen to music after Mozart); 2. nineteenth century plein air painters really perfected what was, until then, a rather improvisational way of working out of doors--and, of course, their subjects were almost never nineteenth century buildings.
So, saying that, maybe it isn’t so conflicted: I paint in a way influenced by some nineteenth century painters (like Corot), but I am not so interested in the architecture of the time, which probably accords with the painters of the time (apart from the Impressionists, but they’re not within the same tradition). All that to justify painting the tempietto at the terminus of Lorenzo Nottolini’s 1820’s aqueduct in Lucca. I made the exception for a variety of reasons (of course), but its overgrown context, scale and austerity give it a Piranesian quality that I hope comes through in the painting.