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335:. His first vedute also originated from his collaboration with Meyer, who used drawings by van Wittel to illustrate one of his tracts with a series of engraved Roman views. Van Wittel used some of these drawings for tempera and oil vedute dating from the early 1680s. His style of vedute was formed about 10 years later.
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His work developed from that of the Dutch
Italianate painters, whose work incorporated Roman ruins and other Roman sights. Their paintings always placed architecture within the surrounding landscape. Van Wittel's approach was derived from this and as result his views show buildings from a distance.
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artists working in Rome. His nickname in the
Bentveughels was "Piktoors" (Pitch-torch) or "Toorts van Amersfoort" (Torch of Amersfoort). He was also nicknamed ‘Gasparo dagli Occhiali’ (Gaspare with the spectacles). He worked in Rome together with the Flemish painter
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He showed large architectural complexes in an overall view. His work should therefore be seen as a mixture of landscape and urban architecture painting rather than simple vedute. It is possible that he relied on the aid of a
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Van Wittel spent almost all his life in Italy where he arrived in 1674 and died in 1736. He lived mainly in Rome but, particularly between 1694 and 1710, he also toured the country and painted in
314:. Some of the views he painted during his visit to Venice around 1697 anticipate Canaletto in their perspective layout and in the angle in which the scene is presented. An example is the
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175:. His father was a cart maker. Caspar studied painting in Amersfoort with the relatively obscure Thomas Jansz van Veenendaal for 4 or 5 years and then with the better known
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When van Wittel first arrived in Rome he drew 50 drawings illustrating the Dutch hydraulic engineer
Cornelis Meyer's designs for restoring navigability to the River
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His compositional and perspectival principles remained the same from the 1690s, only the subject matter changed. His work was very popular with travellers on their
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who had produced a series of cityscapes of Rome in the 1660s. He is also considered to have influenced one of the major
Italian vedutisti, the Venetian painter
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Egbert
Haverkamp-Begemann, Sir John Wyndham Pope-Hennessy. Fifteenth- to Eighteenth-century European Drawings: Central Europe, the Netherlands, France, England
306:. He is credited with turning topography into a painterly specialism in Italian art. He may have been influenced by the drawings of the Flemish draughtsman
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painter and draughtsman who had a long career in Rome. He played a pivotal role in the development of the genre of topographical painting known as
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was born in 1700. Luigi became a famous architect and used the italianized family name of
Vanvitelli. A second son was born in 1702.
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in 1672 to where he had fled after the French invasion and occupation of
Amersfoort in the
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Facsimile of the L'Arte di restituire a Roma la tralasciata navigatione del suo Tevere
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159:. He is credited with turning topography into a painterly specialism in Italian art.
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Grove Art Online. Oxford Art Online. Oxford
University Press. Web. 23 February 2017
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Grove Art Online. Oxford Art Online. Oxford
University Press. Web. 3 Apr. 2014.
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Van Wittel is one of the principal painters of topographical views known as
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and may even have been his pupil. Other collaborators included
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Gaspar Van Wittel, e l'origene della veduta settecentesca
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In 1697 van Wittel married Anna
Lorenzani. His first son
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Gasper van Wittel gebentnaamt de Toorts van Amersfoort
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in Rome in 1711. He made his last dated work in 1730.
612:(Rome) Ugo Bozzi publishers, by William Barcham in
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228:painters in the first half of the 18th century.
207:Like his former teacher Withoos, he joined the
491:at the Netherlands Institute for Art History
362:Thomas Coke, the future 1st Earl of Leicester
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572:, Metropolitan Museum of Art, 1999, p. 280
458:on website dedicated to Caspar van Wittel
408:on website dedicated to Caspar van Wittel
317:View of the Piazzetta from St Mark's Basin
297:View of the Piazzetta from St Mark's Basin
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530:Ludovica Trezzani. "Wittel, Gaspar van."
399:Caspar van Wittel's biographical details
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383:by Caspar van Wittel and Cornelis Meyer
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559:Robert C. Smith, The Ruins of Rome
35:Portrait of van Wittel by his son
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714:18th-century Italian male artists
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112:[ˈkɑspɑrvɑɱˈʋɪtəl,ˈɡɑs-]
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146:[ˈɡasparodeʎʎokˈkjaːli]
456:Caspar van Wittel's jeugdjaren
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679:18th-century Italian painters
669:17th-century Italian painters
129:[ˈɡasparevaɱviˈtɛlli]
204:, another pupil of Withoos.
709:Members of the Bentvueghels
694:18th-century Dutch painters
167:Van Wittel was born into a
117:Jasper Adriaensz van Wittel
48:Jasper Adriaensz van Wittel
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593:John Wilton-Ely. "Veduta."
280:. He became member of the
664:Dutch Golden Age painters
434:. Oxford University Press
236:View of the Tiber in Rome
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689:Dutch landscape painters
616:(1969) pp. 189–193.
353:in drawing his vedute.
659:People from Amersfoort
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322:Doria Pamphilj Gallery
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222:Hendrik Frans van Lint
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674:Italian male painters
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635:at Wikimedia Commons
704:Dutch male painters
489:Jacob van Staverden
381:The navigable Tiber
202:Jacob van Staverden
187:Piazza Navona, Rome
404:2016-11-03 at the
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121:Gaspare Vanvitelli
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631:Media related to
471:Caspar van Wittel
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331:between Rome and
104:Gaspar van Wittel
100:Caspar van Wittel
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81:Papal States
71:(1736-09-13)
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654:1736 deaths
428:"Townscape"
643:Categories
608:Review of
512:(in Dutch)
493:(in Dutch)
478:(in Dutch)
460:(in Dutch)
410:(in Dutch)
372:References
360:of Italy.
358:Grand Tour
173:Amersfoort
171:family in
92:Landscapes
55:Amersfoort
324:, Rome).
312:Canaletto
149:), was a
402:Archived
270:Piacenza
250:Florence
198:Rampjaar
473:at the
333:Perugia
258:Ferrara
254:Bologna
213:Flemish
115:; born
304:vedute
278:Naples
276:, and
274:Urbino
262:Venice
226:vedute
156:veduta
108:Dutch:
329:Tiber
266:Milan
243:Luigi
194:Hoorn
151:Dutch
132:) or
37:Luigi
440:2017
288:Work
163:Life
142:IPA:
125:IPA:
77:Rome
66:Died
44:Born
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