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  • When in Rome, Cozens bought himself an ass to enable him to tour the city's environs more easily. Lake Albano was a short ride from Rome and an essential stopping place for any traveler visiting Italy. Perched above this volcanic lake stands Castel Gandolfo, where Pope Urban VIII (1568–1644) built a small palace as an occasional retreat from Rome. To facilitate transport between the palace and the neighboring town of Albano, Urban began the Galleria di Sopra, a winding, tree-lined road that offered occasional views of Lake Albano, on one side, and of the Roman Campagna, on the other. In 1778 the 4th Earl of Bristol thought “a more romantic spot cannot be seen” and marveled at the “oldest and most venerable oaks, as well as chestnuts, that I ever saw” lining the road (Oppé, 1952, p. 135). Sketches Cozens made on the spot provided the basis of a number of drawings of the Galleria di Sopra, most being variants of what was essentially the same design. This unfinished drawing is, however, unique, both in focusing on the road itself, rather than the prospect of the Campagna, and in showing an approaching storm. Here a pair of goatherds hurries along the road to escape the oncoming tempest seen blowing in from the right, the trees already buffeted by advance winds. The emphasis on human vulnerability in the face of the forces of nature suggests a depth of meaning that puts this work beyond mere topography and reveals a debt to his father's theory of the intellectual potential of landscape painting. The lack of finish also displays Cozens’s innovative handling of watercolor: in some areas he uses gray underwashes, whereas in others he applies pure pigment in layers directly onto the white paper, giving the green leaves of the right-hand tree a jewel-like intensity of color.
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  • When in Rome, Cozens bought himself an ass to enable him to tour the city's environs more easily. Lake Albano was a short ride from Rome and an essential stopping place for any traveler visiting Italy. Perched above this volcanic lake stands Castel Gandolfo, where Pope Urban VIII (1568-1644) built a small palace as an occasional retreat from Rome. To facilitate transport between the palace and the neighboring town of Albano, Urban began the Galleria di Sopra, a winding, tree-lined road that offered occasional views of Lake Albano, on one side, and of the Roman Campagna, on the other. In 1778 the 4th Earl of Bristol thought "a more romantic spot cannot be seen" and marveled at the "oldest and most venerable oaks, as well as chestnuts, that I ever saw" lining the road (Oppé, 1952, p. 135). Sketches Cozens made on the spot provided the basis of a number of drawings of the Galleria di Sopra, most being variants of what was essentially the same design. This unfinished drawing is, however, unique, both in focusing on the road itself, rather than the prospect of the Campagna, and in showing an approaching storm. Here a pair of goatherds hurries along the road to escape the oncoming tempest seen blowing in from the right, the trees already buffeted by advance winds. The emphasis on human vulnerability in the face of the forces of nature suggests a depth of meaning that puts this work beyond mere topography and reveals a debt to his father's theory of the intellectual potential of landscape painting. The lack of finish also displays Cozens's innovative handling of watercolor: in some areas he uses gray underwashes, whereas in others he applies pure pigment in layers directly onto the white paper, giving the green leaves of the right-hand tree a jewel-like intensity of color.
  • When in Rome, Cozens bought himself an ass to enable him to tour the city's environs more easily. Lake Albano was a short ride from Rome and an essential stopping place for any traveler visiting Italy. Perched above this volcanic lake stands Castel Gandolfo, where Pope Urban VIII (1568–1644) built a small palace as an occasional retreat from Rome. To facilitate transport between the palace and the neighboring town of Albano, Urban began the Galleria di Sopra, a winding, tree-lined road that offered occasional views of Lake Albano, on one side, and of the Roman Campagna, on the other. In 1778 the 4th Earl of Bristol thought “a more romantic spot cannot be seen” and marveled at the “oldest and most venerable oaks, as well as chestnuts, that I ever saw” lining the road (Oppé, 1952, p. 135). Sketches Cozens made on the spot provided the basis of a number of drawings of the Galleria di Sopra, most being variants of what was essentially the same design. This unfinished drawing is, however, unique, both in focusing on the road itself, rather than the prospect of the Campagna, and in showing an approaching storm. Here a pair of goatherds hurries along the road to escape the oncoming tempest seen blowing in from the right, the trees already buffeted by advance winds. The emphasis on human vulnerability in the face of the forces of nature suggests a depth of meaning that puts this work beyond mere topography and reveals a debt to his father's theory of the intellectual potential of landscape painting. The lack of finish also displays Cozens’s innovative handling of watercolor: in some areas he uses gray underwashes, whereas in others he applies pure pigment in layers directly onto the white paper, giving the green leaves of the right-hand tree a jewel-like intensity of color.
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  • Bibliograpic reference ::
  • Bibliograpic reference :: A. P. (Adopf Paul) Oppe, Alexander & John Robert Cozens, With a reprint of Alexander Cozens' A new method of assisting the invention in drawing original compositions of landscape, A. and C. Black, London, 1952, p. 135, NJ18 C83 O66 (YCBA)
  • Bibliograpic reference :: John Baskett, Paul Mellon's legacy, a passion for British art : masterpieces from the Yale Center for British Art, Yale Center for British Art, New Haven, CT, 2007, p. 270, no. 60, pl. 60, N5220 M552 P38 2007 OVERSIZE (YCBA)
  • Bibliograpic reference :: Kim Sloan, Alexander and John Robert Cozens, the poetry of landscape, Yale University Press, New Haven and London, 1986, pp. 131, 132, pl. 145, NJ18 C83 S56 (YCBA)
  • Bibliograpic reference :: Simon Schama, The Yale Centre for British Art, TLS, the Times Literary Supplement, Issue no. 3923, May 20, 1977, p. 620, Film S748 (SML) , Also avaiable online in TLS Historical Archive (ORBIS)
  • Bibliograpic reference :: The English prize, the capture of the Westmorland, an episode of the grand tour, Yale University Press, New Haven, 2012, p. 189, fig. 121, N9135 .E54 2012 + OVERSIZE (YCBA)
  • Dimension height :: 36.5cm
  • Dimension height :: 46.7cm
  • Dimension width :: 53.0cm
  • Dimension width :: 62.2cm
  • Exhibition :: Alexander and J. R. Cozens
  • Exhibition :: An American's Passion for British Art - Paul Mellon's Legacy
  • Exhibition :: English Landscape (Paul Mellon Collection) 1630-1850
  • Exhibition :: English Romanticism
  • Exhibition :: Gentle, Rural and Sublime - English Landscape Paintings and Watercolors, 1750-1850
  • Exhibition :: Paul Mellon's Legacy : A Passion for British Art
  • Exhibition :: The Art of Alexander and John Robert Cozens
  • Located in :: New Haven
  • Located in :: Not on view
  • Located in :: YCBA, 222, C 1, C-8
  • Located in :: Yale Center for British Art
  • Object type :: drawing
  • Object type :: watercolor
  • Subject Concept :: clouds
  • Subject Concept :: goats
  • Subject Concept :: grove
  • Subject Concept :: landscape
  • Subject Concept :: shepherd
  • Subject Concept :: study (visual work)
  • Subject Concept :: trees
  • Subject Event :: Grand Tour
  • Subject Place :: Albano, Lago
  • Subject Place :: Campagna
  • Subject Place :: Europe
  • Subject Place :: Italy
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  • ...
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  • Yale Center for British Art, Paul Mellon Collection
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?:label
  • Galleria di Sopra, Albano
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