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拍品专文
Born in Lyon, where he trained with the figure painter Frère Imbert, Manglard went to Rome in 1715. There, he entered the workshop of the landscape painter Bernadino Fergioni, spending much of his time making studies of boats and ships and developing his talent as a marine painter while working beside Fergioni's pupils, Paolo Anesi and Andrea Locatelli. His skill as a marine painter was such that his career advanced rapidly: prestigious clients included Victor Amedeus II, Duke of Savoy, who bought a pair of paintings from him in 1726 (Galleria Sabauda, Turin), Philip, Duke of Parma, who acquired companion paintings from him in 1759 (Palazzo Ducale, Colorno), and the Rospigliosi family in Rome, for whom he produced a number of pictures.
Manglard worked for almost his entire career in Rome as a painter of landscapes, vedute and, especially, seascapes, such as the present Mediterranean harbour scene. Evident in this picture is his careful, life-long study of ships and his interest in exotically dressed figures, which he drew from his youth, collecting his studies in albums now in the École des Beaux-Arts, Paris. His fascination with seaports and his skill at accommodating Northern realism with the classicism of Claude Lorrain were qualities he would hand down to his greatest student, Claude-Joseph Vernet.
The present painting is a mature work, dated by Busiri-Vici and Maddalo to the later 1750s, and painted shortly after Manglard published 44 plates of engravings after his own paintings (1753-1754). Two similarly composed harbour scenes by Manglard can be found in the Fogg Art Museum, Harvard University, Cambridge, and in the Palazzo Boncompagni-Ludovisi in Rome (see Maddalo, op.cit., pp. 107-108, illustrated), which certainly date from the same period.
Manglard worked for almost his entire career in Rome as a painter of landscapes, vedute and, especially, seascapes, such as the present Mediterranean harbour scene. Evident in this picture is his careful, life-long study of ships and his interest in exotically dressed figures, which he drew from his youth, collecting his studies in albums now in the École des Beaux-Arts, Paris. His fascination with seaports and his skill at accommodating Northern realism with the classicism of Claude Lorrain were qualities he would hand down to his greatest student, Claude-Joseph Vernet.
The present painting is a mature work, dated by Busiri-Vici and Maddalo to the later 1750s, and painted shortly after Manglard published 44 plates of engravings after his own paintings (1753-1754). Two similarly composed harbour scenes by Manglard can be found in the Fogg Art Museum, Harvard University, Cambridge, and in the Palazzo Boncompagni-Ludovisi in Rome (see Maddalo, op.cit., pp. 107-108, illustrated), which certainly date from the same period.