The work presents itself with a less precise approach to the real data, and an effort to reinterpret models frequently used in Neapolitan workshops specialized in landscape views without an actual identity. The author reveals that he was strongly influenced by the solutions adopted by Martoriello. In fact, a landscape opening in the foreground marked by grassless terrain where ruined buildings and spurs of rocks inserted within the composition accompany a perspective vision characterized by a notable depth of field.
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.