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When the painitng was bought in 1988 it was accompanied by a text by Michael Bellamy attributing the painting to Dughet. The description of the work in the volume published by the Cariplo Foundation in 1998 confirms this attribution to the artist with the French name, who was in actual fact Italian, since he was born in Rome in 1615 and lived in Italy all his life. The scenery around Rome was the dominant theme in his works, in which references to the real landscape are interwoven with idealistic bucolic elements. This aspect is a guiding thread linking the production of many Italian and foreign artists for at least a century, from the mid-17th century to the birth of Neoclassicism. Unlike his teachers first and foremost Paul Brill and Poussin his brother-in-law, Dughet was more faithful to reality. In this particular painting the monastery of Camaldoli near Frascati surrounded by the dense woods of the Alban Hills is easily recognisable. It was built at the beginning of the 17th century on the initiative of Pope Paul V. This hermitage was frequently visited by members of the most important Roman families and in 1656, after her conversion to Catholicism, Queen Christina of Sweden was granted special permission to visit it. The artist paints the hermitage in a pastoral setting with the usual genre scene of two young peasants exchanging loving words. As Andrea Spiriti notes, in all likelihood this work was commissioned by Cardinal Luigi Alessandro Omodei, a frequent visitor to the hermitage. In fact, the painting is supposed to feature in the inventories of the Omodei Collection, which was dispersed after the family died out at the beginning of the 18th century. This factor may have determined the extremely detailed description of the landscape that almost anticipates veduta painting. In any event, this canvas displays significant similarities with signed works by Gaspard Dughet painted around 1670, such as Landscape near Rome, in the Fitzwilliam Museum in Cambridge, Landscape in the Roman Countryside in the Ashmolean Museum in Oxford and the similar Landscape in the Feigen Collection in New York.

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Biografía del artista

Early Life and Training

Gaspard Dughet (1615 – 1675), also known as Gaspard Poussin, was born in Rome on June 15, 1615, the son of a French pastry-cook and his Italian wife. Despite his French heritage, he never traveled to France, establishing himself firmly within the artistic milieu of the Eternal City.

His family’s modest circumstances fostered an early appreciation for art and craftsmanship.
He received instruction from Nicolas Poussin, who had married his sister Anne five years earlier—a connection that profoundly shaped Dughet's artistic vision and ensured he was widely recognized as “Gaspard Poussin.”

This mentorship proved pivotal in shaping Dughet’s style, aligning him with the dominant aesthetic trends of the Baroque period.

Landscape Painting and Style

Dughet distinguished himself as a landscape painter specializing in depictions of the Roman Campagna—the fertile plains surrounding Rome. Alongside Salvator Rosa, he emerged as one of the foremost landscape artists of his time, embodying the ideals of topographical realism and classical grandeur.

His canvases captured the serene beauty of the campagna with meticulous detail, employing techniques honed under Poussin’s tutelage.
Rosa's influence is palpable in Dughet’s compositions, characterized by atmospheric perspective, balanced symmetry, and a restrained palette dominated by blues and browns—elements that conveyed profound emotional depth.
Dughet’s style was marked by an unwavering commitment to classical principles, prioritizing clarity of form and harmonious proportions.

Notable Commissions and Collaborations
Dughet secured lucrative commissions from prominent Roman families—including the Colonna, Borghese, Pamphilj and Quirinale palaces—resulting in monumental fresco cycles that showcased his artistic prowess. He collaborated closely with artists such as Pier Francesco Mola, Cozza and Mattia Preti, enriching the visual landscape of Rome’s Baroque era.
- His partnership with Guillaume Courtois was particularly fruitful; Courtois frequently executed staffage—background figures—in Dughet's landscapes, enhancing their narrative impact.
- This collaborative spirit exemplifies the dynamism of artistic circles during Dughet’s lifetime and underscores his role as a leading figure in Roman art.
  
  Influence on British Art
  Dughet’s paintings gained considerable renown in England during the eighteenth century, captivating collectors and inspiring landscape painters and garden designers alike. His style became synonymous with classical landscapes—a testament to his enduring legacy.
  - Richard Wilson, Thomas Gainsborough and John Constable—amongst others—were profoundly influenced by Dughet's compositions, adopting similar techniques and aesthetic sensibilities.
  - His works served as models for the creation of meticulously designed gardens that mirrored the grandeur and serenity of Roman landscapes—a lasting contribution to British cultural heritage.
    
    Legacy
    Gaspard Dughet’s oeuvre remains a cornerstone of Baroque landscape painting, celebrated for its intellectual rigor and emotional resonance. His paintings reside in prestigious institutions such as the National Gallery in London, where “Landscape with the Sacrifice of Abraham” stands as an emblem of artistic excellence.
    - Dughet's meticulous observation of nature combined with his mastery of classical ideals cemented his place among the most influential artists of his era—a figure whose work continues to inspire admiration and scholarly inquiry today.

Gaspard Dughet

1613 - 1675 , Italia

Datos clave

Artistic Movement Or Style: Paisajismo Barroco
Artists Or Movements Influenced By This Artist: Poussin, Claude Lorrain
Artists Who Influenced This Artist: Nicolás Poussin
Date Of Birth: Junio 1615
Date Of Death: Mayo 1675
Full Name: Gaspard Dughet
Nationality: Francés
Notable Artworks:
- Sacrificio di Abramo
- Vista del monasterio de Camaldoli
Place Of Birth: Roma, Italia

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