Turner Bequest CXCIII 80
Inscribed by John Ruskin in red ink ‘80’ bottom right
Stamped in black ‘CXCIII 80’ bottom right
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).
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).7
Claude conceived Pastoral Landscape with Castel Gandolfo and Landscape with the Port of Santa Marinella as a pair and their unusual octagonal format may have influenced Turner’s use of a similar shape for his later pendants, Peace – Burial at Sea exhibited 1842 (Tate, N00528), and War. The Exile and the Rock Limpet exhibited 1842 (Tate, N00529).10
How to cite
Nicola Moorby, ‘Sketches of Two Paintings by Claude from the Barberini and Sciarra Collections, Rome 1819 by Joseph Mallord William Turner’, catalogue entry, March 2011, in David Blayney Brown (ed.), J.M.W. Turner: Sketchbooks, Drawings and Watercolours, Tate Research Publication, December 2012, https://www