LINT, Hendrik Frans van

The present painting, depicting an extensive classical landscape with figures seated before a tempietto, was inspired by the landscapes of Claude Lorrain. It is a fine example of Van Lint’s ‘Claudian’ landscapes. Certain figures and architectural motifs of the painting are repeated in other compositions by the artist. The tempietto, for example, seems to have been one of Van Lint’s favourite features for his classical scenes.

The painting is signed, inscribed and dated lower right: Enrico van Lint. Studio. Ft./ Rome. 1749.

This painting is the only accepted portrait by Hendrick van Lint. The artist has chosen as his subject his son Giacomo (1723-1790), an accomplished artist himself, who is shown here as an elegant young man underneath an arched opening. In the background the St. Peter’s Square in Rome can be recognized.

Framing the sitter in a bay window was the custom of many Northern painters of the seventeenth century.

This canvas shows a classical river landscape with figures and goats before a bridge, waterfall and circular temple. It is one of a pair of classical landscapes which combines elements derived from Claude Lorrain.

The Piazza del Popolo, one of the grandest public spaces in Rome, stands at the apex of the famous triangle of roads (Via del Babuino, Via del Corso, and Via di Ripetta) known as the “Trident.” The twin churches of Santa Maria di Montesanto (at left) and Santa Maria dei Miracoli (at right), designed by Carlo Rainaldi [1611-1691], dominate the southern end of the Piazza. The obelisk at center was placed there in 1589 by Sixtus V. Over 3000 years old, it had originally been brought to Rome by Augustus after the conquest of Egypt, to adorn the Circus Maximus. Today, the piazza is ovoid, rather than rectangular as it appeared in Van Lint’s time, having been transformed as such in the 19th century by Giuseppe Valadier who also designed the Pincio Gardens that lie above the Piazza.

The picture shows a view of the Tiber with the Ponte and Castel Sant’Angelo, the Basilica of St. Peter’s beyond. Van Lint painted other vies showing the Ponte and Castel Sant’Angelo.

The painting is signed and dated lower right.