Jacob Philip Hackert, dit Hackert d'Italie

Ancienne collection Saint Chamant.

The following condition report has been provided by Catherine Polnecq, 12 rue Saint-Sabin - 75011 Paris, Tel: 33 (0)1 48 05 30 53, Email: c.polnecq@hotmail.fr, an independent restorer who is not an employee of Sotheby's. Very good overall condition. Under ultraviolet light: There is a small retouche in the sky, along the left and upper right painting edges. Network of open cracks in the lower parts along the edge and in the dark areas.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Formé dans l'atelier de son père, peintre de décor de théâtre à Berlin, Jacob Philip Hackert arriva à Paris en 1765 où il collabora avec son frère Johann Gottlieb et se montra particulièrement influencé par l'art de Claude-Joseph Vernet. Après un séjour en Suède et en France, Hackert s'installa pour quelques temps en Italie. Il eut de prestigieux commanditaires tels Catherine II de Russie, et travailla également pour le Roi de Naples, Ferdinand IV. En 1799, il fut contraint de quitter Naples pour fuir devant l'arrivée des troupes françaises et se retira à Florence. Productif dans son travail de peintre jusqu'à la fin de sa vie, il publia par ailleurs un Traité pour l'instruction de la peinture du paysage en 1803.

Cette Vue de Persano est une œuvre inédite d'Hackert. Elle doit être rapprochée d'une autre Vue de Persano, réalisée à la gouache sur un support carton, signée et datée Ph Hackert f 1782, aujourd'hui conservée au Palazzo Reale de Caserte près de Naples (voir C. de Seta, Hackert, Naples, 2005, p. 252 , no. 40, reproduit).

Dans notre tableau, Hackert conserve le même angle de vue mais anime la composition au premier plan avec un berger et son troupeau de moutons. De même, les arbres sur la gauche de l'œuvre sont ici plus fournis, focalisant ainsi l'attention du spectateur sur le centre de la composition et la perspective. L'écriture picturale fine, l'animation sage et le chromatisme doux de cette Vue de Persano contribuent efficacement à rendre une vue à la fois topographiquement précise et l'atmosphère du "paysage idéal" caractéristique de l'œuvre de l'artiste.


A VIEW OF PERSANO

Oil on canvas

Having trained in the workshop of his father, a painter and set designer in Berlin, Jacob Philip Hackert arrived in Paris in 1765. He worked there alongside his brother Johann Gottlieb and his works at this time were particularly influenced by the paintings of Claude-Joseph Vernet. After sojourns in Sweden and in France, Hackert settled in Italy for a while. He received commissions from important figures such as Catherine the Great of Russia and Ferdinand IV, King of Naples. In 1799 he was forced to leave Naples as French troops advanced and thus he settled in Florence. He continued to paint until the end of his life, publishing a treatise in 1803 on the art of painting landscapes.

This 'View of Persano' is a hitherto unpublished work by Hackert. It is very similar to another 'View of Persano', painted in gouache on cardboard, signed and dated 'Ph Hackert f 1782', today in the collection of the Palazzo Reale at Caserta, near Naples (see C. de Seta, Hackert, Naples, 2005, p. 252 , no. 40, reproduced).

The present painting is taken from the same viewpoint as the Caserta picture but the artist has introduced a shepherd and a flock of sheep into the foreground. Another difference is that the trees at the left of the composition are adorned with thicker foliage, thus forming a stronger framing element that focuses our attention on the perspectival view in the centre. The detailed description of landscape and delicate palette both contribute to the topographical accuracy of the view and give a greater sense of atmosphere to this Arcadian landscape so typical of Hackert's œuvre.