The choice of light tones, functional to translate the sense of water, is already indicative in itself for a placement of the work in the first decades of the eighteenth century. When we then observe the attention to detail of the outlined arboreal parts, their orderly interweaving and in any case the prevalence over the small appearances distributed far into the distance within the landscape, we find a positive confirmation of the chronological data, but also of possible influences limited to the sphere of Michele Pagano. The painting, created through an extended eighteenth-century luminosity, is also characterized by the re-proposal of numerous details of the natural data.
Landscape Landscape painting as an autonomous form of representation was born in the Flemish context in the second half of the 16th century, to spread to the rest of Europe and to definitively establish itself as an autonomous pictorial “genre” during the 17th century, thanks above all to the “classicist” and naturalist revolution brought about first by the Carracci and then by Poussin and Lorrain, to a complex relationship of exchanges and cultural growth, linked to the events of the Grand Tour, and to a particular interest aroused among collectors and art connoisseurs. For the landscapes on display, we will proceed according to the trend lines that became prevalent in the early 18th century, considering the degree of anchoring to the 17th century tradition.