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Creator:
Richard Wilson RA, 1714–1782, British, active in Italy (1750–56)
Title:

The Via Nomentana

Date:
1754
Medium:
Black and white chalk with stumping on medium, moderately textured, blue laid paper mounted on medium, moderately textured, cream wove paper with a border of medium, moderately-textured wove paper with purple wash
Dimensions:
Sheet: 10 7/8 x 16 5/8 inches (27.6 x 42.2 cm)
Inscription(s)/Marks/Lettering:

Signed and dated in graphite, on mount, lower left: "R. Wilson f. Romae, 1754"

Inscribed in brown ink, lower center: "The Via Nomentana."; in black chalk, lower right: "No. 18"; in graphite, verso, upper left: "7402"

Credit Line:
Yale Center for British Art, Paul Mellon Collection
Copyright Status:
Public Domain
Accession Number:
B1977.14.4656
Classification:
Drawings & Watercolors
Collection:
Prints and Drawings
Subject Terms:
bridge (built work) | landscape | road | travelers
Associated Places:
Europe | Italy | Lazio | Roma | Rome
Access:
Accessible by request in the Study Room [Request]
Note: The Study Room is open to Yale ID holders by appointment. Please visit the Study Room page on our website for more details.
Link:
https://collections.britishart.yale.edu/catalog/tms:14280
Export:
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The Via Nomentana runs northeast from Rome to Nomentum (present-day Mentana) and the Alban Hills to the south are visible in the distance of Wilson’s drawing. The present view is taken from about two miles outside the Porta Pia, at the bridge across the Fosso della Cecchina. Visible in the middle distance is the bridge across the Aniene (Anio) that was the subject of an independent Dartmouth drawing (cat. 68). The Via Nomentana was fringed with a number of ancient monuments that Wilson drew, including the so-called Sedia del Diavolo, and was a popular place for walks and picnicking during the eighteenth century. Rather than focusing on a specific monument, Wilson’s view shows the proximity of the Roman Campagna and the series of hills that fringe the city.

Jonathan Yarker

Gallery label for Richard Wilson and the Transformation of European Landscape Painting (Yale Center for British Art, 2014-03-06 - 2014-06-01)

British Art at Yale, Apollo, v.105, no. 182, April 1977, p. 269, 270-1, fig. 3, N5220 M552 A7 1977 OVERSIZE (YCBA) Published as April 1977 issue of Apollo; all of the articles may also be found in bound Apollo Volume [N1 A54 105:2 +]

Catalogue of pictures by Richard Wilson and his circle, November 17-January 9 1948-9 , City Museum & Art Gallery Birmingham, Birmingham, 1948, p. 24, no. 87, V 2449 (YCBA)

Catalogue of an exhibition of pictures by Richard Wilson and his circle : organized by the City Museum and Art Gallery, Birmingham, January, 1949, The Tate Gallery, London, , Tate Britain, London, 1949, p. 27, no. 86, NJ18 W72 T37 (YCBA)

Painting in England 1700-1850, collection of Mr. & Mrs. Paul Mellon. , Virginia Museum of Fine Arts, Richmond, VA, 1963, p. 62, no. 57, ND466 V57 v.1-2 (YCBA)

Martin Postle, Richard Wilson and the transformation of European landscape painting, Yale University Press, New Haven, 2014, p. 222, Cat. No. 66x, NJ18.W72 R53 2014 OVERSIZE (YCBA)

Graham Reynolds, English Landscape 1630-1850, Apollo, vol.105, no. 182, April 1977, p. 269, 270-1, fig. 3, N1 A54 105:2 + (YCBA) Another copy of this article may be found in a separately bound and catalogued copy of this issue located on the Mellon Shelf [call number : N5220 M552 A7 1977 + (YCBA)]

David H. Solkin, Richard Wilson, the landscape of reaction, Tate Publishing, London, 1982, p. 171, no. 48, no. 48, NJ18 W72 S65 + (YCBA)

Windows on that world, essays on British art presented to Brian Allen , The Paul Mellon Centre for Studies in British Art, London, 2012, p. 70, N6766 .W56 2012 (YCBA)


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