1514
Friedrich NerlyA Wine-Grower's Parade on Monte CircelloOil on canvas (relined). 127 x 171 cm.
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Friedrich Nerly
A Wine-Grower's Parade on Monte Circello
Oil on canvas (relined). 127 x 171 cm.
Signed and dated lower right: F. Nerly 1832.
Provenance
Private collection, Germany.
Literature
Lit.: F. Meyer: Friedrich von Nerly, 1908. - Exhib. cat.: Friedrich Nerly und die Künstler um Carl Friedrich von Rumohr, Schleswig-Holsteinisches Landesmuseum, Schloss Gottorf, Schleswig / Landesmuseum Mainz 1991. - W. Morath-Vogel (ed.): Römische Tage - Venezianische Nächte. Friedrich Nerly zum 200. Geburtstag, 2007.
During his stay in Rome from 1828 to 1835, Nerly frequently visited the foothills of Capo Circeo, located around 90 km from the city, and from there undertook numerous hikes to Terracina. He recorded these walks in drawings of the coast with its watchtowers, grottoes and vegetation.
Nerly described a stay in the fishing village of San Felice on the slopes of Monte Circeo (also known as Monte Circello in the 18th and 19th century) in a letter to Johann Christian Reinhart: “I just returned from a wonderful sea voyage and simply couldn't resist reporting to you some of the charms of Cap Felice… I feel wonderful here, like the lost Odysseus. By day I sit upon the ancient rubble with my paintbrush in one hand and a copy of the Odyssey in the other, looking out towards the endless ocean and surrounded by the scent of verdant myrtles in which a myriad of nightingales twitter and sing, and thus I come home of the evenings half dazed…” (F. Meyer op. cit. p. 52)
The present work is dated 1832 and depicts a more or less exact portrait of the view to the south as seen from Monte Circeo. On the opposite coast we see the town of Terracina in the distance. To the right of which looms the characteristic rocky promontory known as Pisco Montano, which is towered over by Monte Sant´Angelo on the left, with the squat, elongated form of the temple of Jupiter Anxur partially visible at its summit. The mountains to the left of this are the Monti Ausoni. In the mid-ground of the work, we see two of the watchtowers built in the 15th century to protect from the onslaughts of marauding North African pirates, and the Pontine Marshes stretch out over the left plane of the coastline.
Despite the realistic contemporary landscape veduta in the background of the work, Nerly has taken some liberties with the figures in the foreground. The “Wine Grower's Procession on Monte Circello”, as the work is traditionally entitled, is by no means intended to represent 19th century vinegrowers. This becomes especially clear when we compare the piece to an engraving by Ludwig Richter depicting several contemporary peasants. In contrast to these rustic characters, Nerly's figures are dressed in light, classical costumes and sandals, and on the right we see a woman with her breasts exposed - something that would have been unthinkable in 1832. The flimsy garments, double flutes, tambourines, amphorae, baskets of grapes and nude children in Nerly's work are in fact more reminiscent of a triumph of Bacchus or a Bacchanalian feast than a scene of wine growers returning from the fields. The poses of many of the individual figures are also based on traditional depiction of classical mythology, for example the lady in the foreground with arms upraised being embraced by a man is reminiscent of depictions of the nymph Daphne fleeing from the attentions of Apollo.
This painting is probably based on a sketch made in 1832 which depicts the landscape devoid of figural staffage (M. Morath-Vogel, no. 60). Previously, this motif was only known from a single, undated work painted around 1860 and kept in the Angermuseum in Erfurt (M. Morath-Vogel, no. 22). However, Franz Meyer records in a biography of the painter that upon his return from southern Italy, Nerly used his studies of Terracina to create “several large and densely populated works depicting the 'Return from the Wine Harvest', a subject which he was to
A Wine-Grower's Parade on Monte Circello
Oil on canvas (relined). 127 x 171 cm.
Signed and dated lower right: F. Nerly 1832.
Provenance
Private collection, Germany.
Literature
Lit.: F. Meyer: Friedrich von Nerly, 1908. - Exhib. cat.: Friedrich Nerly und die Künstler um Carl Friedrich von Rumohr, Schleswig-Holsteinisches Landesmuseum, Schloss Gottorf, Schleswig / Landesmuseum Mainz 1991. - W. Morath-Vogel (ed.): Römische Tage - Venezianische Nächte. Friedrich Nerly zum 200. Geburtstag, 2007.
During his stay in Rome from 1828 to 1835, Nerly frequently visited the foothills of Capo Circeo, located around 90 km from the city, and from there undertook numerous hikes to Terracina. He recorded these walks in drawings of the coast with its watchtowers, grottoes and vegetation.
Nerly described a stay in the fishing village of San Felice on the slopes of Monte Circeo (also known as Monte Circello in the 18th and 19th century) in a letter to Johann Christian Reinhart: “I just returned from a wonderful sea voyage and simply couldn't resist reporting to you some of the charms of Cap Felice… I feel wonderful here, like the lost Odysseus. By day I sit upon the ancient rubble with my paintbrush in one hand and a copy of the Odyssey in the other, looking out towards the endless ocean and surrounded by the scent of verdant myrtles in which a myriad of nightingales twitter and sing, and thus I come home of the evenings half dazed…” (F. Meyer op. cit. p. 52)
The present work is dated 1832 and depicts a more or less exact portrait of the view to the south as seen from Monte Circeo. On the opposite coast we see the town of Terracina in the distance. To the right of which looms the characteristic rocky promontory known as Pisco Montano, which is towered over by Monte Sant´Angelo on the left, with the squat, elongated form of the temple of Jupiter Anxur partially visible at its summit. The mountains to the left of this are the Monti Ausoni. In the mid-ground of the work, we see two of the watchtowers built in the 15th century to protect from the onslaughts of marauding North African pirates, and the Pontine Marshes stretch out over the left plane of the coastline.
Despite the realistic contemporary landscape veduta in the background of the work, Nerly has taken some liberties with the figures in the foreground. The “Wine Grower's Procession on Monte Circello”, as the work is traditionally entitled, is by no means intended to represent 19th century vinegrowers. This becomes especially clear when we compare the piece to an engraving by Ludwig Richter depicting several contemporary peasants. In contrast to these rustic characters, Nerly's figures are dressed in light, classical costumes and sandals, and on the right we see a woman with her breasts exposed - something that would have been unthinkable in 1832. The flimsy garments, double flutes, tambourines, amphorae, baskets of grapes and nude children in Nerly's work are in fact more reminiscent of a triumph of Bacchus or a Bacchanalian feast than a scene of wine growers returning from the fields. The poses of many of the individual figures are also based on traditional depiction of classical mythology, for example the lady in the foreground with arms upraised being embraced by a man is reminiscent of depictions of the nymph Daphne fleeing from the attentions of Apollo.
This painting is probably based on a sketch made in 1832 which depicts the landscape devoid of figural staffage (M. Morath-Vogel, no. 60). Previously, this motif was only known from a single, undated work painted around 1860 and kept in the Angermuseum in Erfurt (M. Morath-Vogel, no. 22). However, Franz Meyer records in a biography of the painter that upon his return from southern Italy, Nerly used his studies of Terracina to create “several large and densely populated works depicting the 'Return from the Wine Harvest', a subject which he was to
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Friedrich Nerly
A Wine-Grower's Parade on Monte Circello
Oil on canvas (relined). 127 x 171 cm.
Signed and dated lower right: F. Nerly 1832.
Provenance
Private collection, Germany.
Literature
Lit.: F. Meyer: Friedrich von Nerly, 1908. - Exhib. cat.: Friedrich Nerly und die Künstler um Carl Friedrich von Rumohr, Schleswig-Holsteinisches Landesmuseum, Schloss Gottorf, Schleswig / Landesmuseum Mainz 1991. - W. Morath-Vogel (ed.): Römische Tage - Venezianische Nächte. Friedrich Nerly zum 200. Geburtstag, 2007.
During his stay in Rome from 1828 to 1835, Nerly frequently visited the foothills of Capo Circeo, located around 90 km from the city, and from there undertook numerous hikes to Terracina. He recorded these walks in drawings of the coast with its watchtowers, grottoes and vegetation.
Nerly described a stay in the fishing village of San Felice on the slopes of Monte Circeo (also known as Monte Circello in the 18th and 19th century) in a letter to Johann Christian Reinhart: “I just returned from a wonderful sea voyage and simply couldn't resist reporting to you some of the charms of Cap Felice… I feel wonderful here, like the lost Odysseus. By day I sit upon the ancient rubble with my paintbrush in one hand and a copy of the Odyssey in the other, looking out towards the endless ocean and surrounded by the scent of verdant myrtles in which a myriad of nightingales twitter and sing, and thus I come home of the evenings half dazed…” (F. Meyer op. cit. p. 52)
The present work is dated 1832 and depicts a more or less exact portrait of the view to the south as seen from Monte Circeo. On the opposite coast we see the town of Terracina in the distance. To the right of which looms the characteristic rocky promontory known as Pisco Montano, which is towered over by Monte Sant´Angelo on the left, with the squat, elongated form of the temple of Jupiter Anxur partially visible at its summit. The mountains to the left of this are the Monti Ausoni. In the mid-ground of the work, we see two of the watchtowers built in the 15th century to protect from the onslaughts of marauding North African pirates, and the Pontine Marshes stretch out over the left plane of the coastline.
Despite the realistic contemporary landscape veduta in the background of the work, Nerly has taken some liberties with the figures in the foreground. The “Wine Grower's Procession on Monte Circello”, as the work is traditionally entitled, is by no means intended to represent 19th century vinegrowers. This becomes especially clear when we compare the piece to an engraving by Ludwig Richter depicting several contemporary peasants. In contrast to these rustic characters, Nerly's figures are dressed in light, classical costumes and sandals, and on the right we see a woman with her breasts exposed - something that would have been unthinkable in 1832. The flimsy garments, double flutes, tambourines, amphorae, baskets of grapes and nude children in Nerly's work are in fact more reminiscent of a triumph of Bacchus or a Bacchanalian feast than a scene of wine growers returning from the fields. The poses of many of the individual figures are also based on traditional depiction of classical mythology, for example the lady in the foreground with arms upraised being embraced by a man is reminiscent of depictions of the nymph Daphne fleeing from the attentions of Apollo.
This painting is probably based on a sketch made in 1832 which depicts the landscape devoid of figural staffage (M. Morath-Vogel, no. 60). Previously, this motif was only known from a single, undated work painted around 1860 and kept in the Angermuseum in Erfurt (M. Morath-Vogel, no. 22). However, Franz Meyer records in a biography of the painter that upon his return from southern Italy, Nerly used his studies of Terracina to create “several large and densely populated works depicting the 'Return from the Wine Harvest', a subject which he was to
A Wine-Grower's Parade on Monte Circello
Oil on canvas (relined). 127 x 171 cm.
Signed and dated lower right: F. Nerly 1832.
Provenance
Private collection, Germany.
Literature
Lit.: F. Meyer: Friedrich von Nerly, 1908. - Exhib. cat.: Friedrich Nerly und die Künstler um Carl Friedrich von Rumohr, Schleswig-Holsteinisches Landesmuseum, Schloss Gottorf, Schleswig / Landesmuseum Mainz 1991. - W. Morath-Vogel (ed.): Römische Tage - Venezianische Nächte. Friedrich Nerly zum 200. Geburtstag, 2007.
During his stay in Rome from 1828 to 1835, Nerly frequently visited the foothills of Capo Circeo, located around 90 km from the city, and from there undertook numerous hikes to Terracina. He recorded these walks in drawings of the coast with its watchtowers, grottoes and vegetation.
Nerly described a stay in the fishing village of San Felice on the slopes of Monte Circeo (also known as Monte Circello in the 18th and 19th century) in a letter to Johann Christian Reinhart: “I just returned from a wonderful sea voyage and simply couldn't resist reporting to you some of the charms of Cap Felice… I feel wonderful here, like the lost Odysseus. By day I sit upon the ancient rubble with my paintbrush in one hand and a copy of the Odyssey in the other, looking out towards the endless ocean and surrounded by the scent of verdant myrtles in which a myriad of nightingales twitter and sing, and thus I come home of the evenings half dazed…” (F. Meyer op. cit. p. 52)
The present work is dated 1832 and depicts a more or less exact portrait of the view to the south as seen from Monte Circeo. On the opposite coast we see the town of Terracina in the distance. To the right of which looms the characteristic rocky promontory known as Pisco Montano, which is towered over by Monte Sant´Angelo on the left, with the squat, elongated form of the temple of Jupiter Anxur partially visible at its summit. The mountains to the left of this are the Monti Ausoni. In the mid-ground of the work, we see two of the watchtowers built in the 15th century to protect from the onslaughts of marauding North African pirates, and the Pontine Marshes stretch out over the left plane of the coastline.
Despite the realistic contemporary landscape veduta in the background of the work, Nerly has taken some liberties with the figures in the foreground. The “Wine Grower's Procession on Monte Circello”, as the work is traditionally entitled, is by no means intended to represent 19th century vinegrowers. This becomes especially clear when we compare the piece to an engraving by Ludwig Richter depicting several contemporary peasants. In contrast to these rustic characters, Nerly's figures are dressed in light, classical costumes and sandals, and on the right we see a woman with her breasts exposed - something that would have been unthinkable in 1832. The flimsy garments, double flutes, tambourines, amphorae, baskets of grapes and nude children in Nerly's work are in fact more reminiscent of a triumph of Bacchus or a Bacchanalian feast than a scene of wine growers returning from the fields. The poses of many of the individual figures are also based on traditional depiction of classical mythology, for example the lady in the foreground with arms upraised being embraced by a man is reminiscent of depictions of the nymph Daphne fleeing from the attentions of Apollo.
This painting is probably based on a sketch made in 1832 which depicts the landscape devoid of figural staffage (M. Morath-Vogel, no. 60). Previously, this motif was only known from a single, undated work painted around 1860 and kept in the Angermuseum in Erfurt (M. Morath-Vogel, no. 22). However, Franz Meyer records in a biography of the painter that upon his return from southern Italy, Nerly used his studies of Terracina to create “several large and densely populated works depicting the 'Return from the Wine Harvest', a subject which he was to
19th Century Paintings and Drawings
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