a.
The upper study represents
Pastoral Landscape with Castel Gandolfo, 1639 (Fitzwilliam Museum, Cambridge), formerly in the Palazzo Barberini.
2 Turner accompanied his schematic copy with detailed notes describing the painting’s colouring and effects, see folios 97 and 96 (Tate
D16870 and
D16868; Turner Bequest CXCIII 96 and 95), and this close attention to the picture has been seen to have influenced the composition and colouring of his later watercolour,
3 Lake Albano 1828 (private collection).
4 For example, the figure annotated as ‘Blue’ in the right-hand foreground of Claude’s landscape is matched by the blue skirt of the contandina found in a corresponding position in Turner’s watercolour.
5 For a fuller discussion see folio 97 (
D16870; Turner Bequest CXCIII 96).
b.
The lower sketch, meanwhile, depicts
Landscape with the Port of Santa Marinella circa 1639–1640 (Petit Palais, Paris), formerly in the collection of Prince Maffeo Barberini Colonna di Sciarra.
6 Turner wrote a short note relating to the work on folio 95 (
D16866; Turner Bequest CXCIII 94) in which he identified it as the ‘Chara Claude’. Ian Warrell has discussed how the artist later echoed the compositional structure of the tower, trees and curving bay within his own pictorial variations, for example a pencil study for a picture in the
King’s Visit to Scotland sketchbook, circa 1819–21 (Tate
D17666; Turner Bequest CC 89), and an oil study of a French scene (Tate,
N02992).
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