“Cappuccini near Sorrento,” Sylvester Schedrin – overview of the painting

“Cappuccini near Sorrento,” Sylvester Schedrin – overview of the painting
“Cappuccini near Sorrento,” Sylvester Schedrin - overview of the painting - 1

  • Posted by Sylvester Theodosievich Shchedrin
  • Museum: Russian Museum
  • Year: 1827

Overview of the painting :

Kapuccini near Sorrento – Sylvester Feodosievich Shchedrin. Oil on canvas. 47.5 x 60 cm
   Sylvester Shchedrin was born in St. Petersburg, in an art family. His father is a famous sculptor, rector of the Academy of Arts, his uncle is a landscape painter who led the landscape painting class for almost thirty years. Sylvester Shchedrin graduated from the Academy of Arts and was sent as her pensioner to Italy, where he gained wide popularity with his work. Russian and foreign lovers argued for the right to purchase his landscapes. The artist could not return to Russia: he died in Italy, having lived there for a little more than ten years.

   Shchedrin wrote numerous species of Naples and its environs. Especially loved by the artist Sorrento, where he was attracted to a quiet harbor, picturesque steep banks, rocky grottoes by the sea, green shady terraces. In Sorrento, the artist’s short life ended, and now you can see his grave.

   The painting “Terrace on the seashore” for a long time did not have a specific definition of the depicted area. Find out her helped by finding among the drawings made by some unknown artist in the 1840s. Among the sketches of species in the vicinity of Sorrento were sketches of the same terrace with a mark specifying its location – the place of Kapuccini.

   The terrace is located high above the sea. Immersed in a deep shadow or illuminated by a bright sun, it is full of bizarre play of light. Under tall trees, monks hid from the heat in brown robes, girded with ropes, a fat pater, a ragged man leaning against the wall and overturning a cap, a mule dropper and other passers-by.

   The picture is permeated with light and saturated with air, the linear perspective is preserved only for the foreground, the long-distance is transmitted exclusively by picturesque means. There seems to be no transition from the dark figure of a priest who has been de-energized to parapet to blue dalas on the horizon; however, the depth of the distance separating them is perfectly felt by the viewer, and a huge space opens in the enlightenment of foliage. The pink roofs and white walls of the village of Meta are barely outlined in the distance with a few quick strokes.

   Nature in the paintings of Shchedrina is always sunny, clear and calm. In contrast to many writers and artists of the Romanticism era, Shchedrin did not seek to chant storms and the struggle of the elements. He preferred nature serenely calm and classically clear. At the same time, nature in his paintings is always lively and warmed by the presence of man. The people of the Schedrina landscapes are not an elegant crowd of gentlemen, but Italian commoners in their picturesque lokhmoths are natural inhabitants of all the generous terraces, harbors and embankments.

   Shchedrin was a innovator in art. While his predecessors, masters of the classicist landscape, confined themselves to full-scale sketches with pencils and composed paintings on their basis in the workshop, Shchedrin painted his etudes with paints directly from the nature. One of the types the artist repeated eight times, changing the air and tone of the picture. Shchedrina is rightly considered the closest predecessor of masters of captive painting of the second half of the 19th century.