Capriccio with ruins of the Roman Forum

WALL LABEL: Radical Classical, collection display

This is not an actual view of the ancient Roman Forum, but an artificial rearrangement of various famous ruins in the vicinity, including the three columns of the Temple of Castor and Pollux, and the Colosseum. Claude used these elements to evoke the Arcadian setting of ancient Latin poems which were widely read and admired in the seventeenth century. This kind of landscape was based on a careful and rational synthesis of land, trees, buildings, figures and the warm, soft light of dawn and sunset. A harmonious vision of Arcadian landscape was Claude’s most important contribution to western art. Indeed he is widely regarded as the father of European landscape painting.

In order to guard against the many forgeries that began to appear on the market during his lifetime, Claude kept an accurate drawing of each of his paintings in a sketchbook he called the Liber Veritatis. This painting is particularly important because it was the first to be so recorded.

Tansy Curtin, Curator of International Art, Pre-1980

In this capriccio, or imaginary landscape, Claude uses the setting of the Roman Forum to create a utopian vision of nature, evoking the pastoral ideals of ancient Latin and Renaissance poets. Figures in contemporary dress go about their daily lives with quiet dignity amid the ruins of imperial Rome, which include the three surviving columns of the Temple of Castor and Pollux, and the Colosseum.

This kind of landscape was based on a careful and rational synthesis of land, trees, buildings, figures and the warm, soft light of dawn or sunset. A harmonious vision of an Arcadian landscape was Claude’s most important contribution to European art.

Indeed, he is widely regarded as the father of European landscape painting, and his enchanted vision of nature – its harmony, structure, light and mood – dominated the way in which the landscape was represented until the nineteenth century.

Although born in the duchy of Lorraine in northeastern France, Claude spent much of his life in Italy. In order to guard against the many forgeries that began to appear on the market during his lifetime, Claude kept an accurate drawing of each of his paintings in a sketchbook he called the Liber Veritatis. This painting is of particular interest because it was the first that Claude so recorded.

Tony Magnusson, Curator of European Art, 2016–18