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The Landscapes of Gaspard Dughet: Artistic Identity and Intellectual Formation in Seventeenth-Century Rome

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The Landscapes of Gaspard Dughet: Artistic Identity and Intellectual Formation in Seventeenth-Century Rome ABSTRACT Title of Document: THE LANDSCAPES OF GASPARD DUGHET: ARTISTIC IDENTITY AND INTELLECTUAL FORMATION IN SEVENTEENTH-CENTURY ROME Sarah Beth Cantor, Doctor of Philosophy, 2013 Directed By: Professor Anthony Colantuono, Department of Art History and Archaeology The paintings of Gaspard Dughet (1615-1675), an artist whose work evokes the countryside around Rome, profoundly affected the representation of landscape until the early twentieth century. Despite his impact on the development of landscape painting, Dughet is recognized today as the brother-in-law of Nicolas Poussin rather than for his own contribution to the history of art. His paintings are generally classified as decorative works without subjects that embody no higher intellectual pursuits. This dissertation proposes that Dughet did, in fact, represent complex ideals and literary concepts within his paintings, engaging with the pastoral genre, ideas on spirituality expressed through landscape, and the examination of ancient Roman art. My study considers Dughet’s work in the context of seventeenth-century literature and antiquarian culture through a new reading of his paintings. I locate his work within the expanding discourse on the rhetorical nature of seventeenth-century art, exploring questions on the meaning and interpretation of landscape imagery in Rome. For artists and patrons in Italy, landscape painting was tied to notions of cultural identity and history, particularly for elite Roman families. Through a comprehensive examination of Dughet’s paintings and frescoes commissioned by noble families, this dissertation reveals the motivations and intentions of both the artist and his patrons. The dissertation addresses the correlation between Dughet’s paintings and the concept of the pastoral, the literary genre that began in ancient Greece and Rome and which became widely popular in the early seventeenth century. The pastoral world, with its melancholic atmosphere and nostalgia for antiquity, was quickly assimilated into landscape painting, most effectively in the work of Poussin and Claude, and also in Dughet’s paintings. For artists in the seventeenth century, the pastoral landscape was a place of meditation on the ancient past and the future inevitability of death, a theme present in Dughet’s work as well. The dissertation reveals connections to ancient Roman paintings unearthed at the time and to antiquarian culture and contemporary interpretations of early frescoes. This study presents a renewed and comprehensive appreciation for Dughet’s landscapes and a more nuanced view of his intellectual contribution as an artist. THE LANDSCAPES OF GASPARD DUGHET: ARTISTIC IDENTITY AND INTELLECTUAL FORMATION IN SEVENTEENTH-CENTURY ROME By Sarah Beth Cantor Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2013 Advisory Committee: Professor Anthony Colantuono, Chair Professor Meredith Gill Professor Marjorie Venit Associate Professor Joseph Falvo Professor Emerita Ann Sutherland Harris © Copyright by Sarah Beth Cantor 2013 Disclaimer The dissertation document that follows has had referenced material removed in respect for the owner's copyright. A complete version of this document, which includes said referenced material, resides in the University of Maryland, College Park's library collection ii Dedication To my grandparents: Virginia and Curt, Bea and Dave iii Acknowledgements The idea for this dissertation began in 2004 while searching for a topic for my master’s thesis. At the suggestion of my undergraduate advisor, Ann Sutherland Harris, I started to examine the career of the artist Gaspard Dughet, a landscape specialist and brother-in-law of Nicolas Poussin. My master’s thesis developed into an analysis of Dughet’s drawings and his influence on landscape in the late seventeenth and early eighteenth centuries through the study of copies after his works. Primarily an exercise in connoisseurship, I attempted to identify the author of a number of chalk drawings that had been attributed by older scholars to Dughet, but were in fact later copies after his paintings and frescoes. After completing the thesis and realizing the lack of scholarship on the meaning of Dughet’s paintings and their place within the history of both landscape painting and patronage studies, I was compelled to continue working on the artist for my dissertation. A number of people have provided support and guidance during the course of writing this dissertation and none more so than my advisor, Professor Anthony Colantuono. From the time I began my graduate career at the University of Maryland, his encouragement has been constant and unwavering. His willingness to always meet and discuss how to work through a thorny problem, find the right way to express a certain thought, or figure out the best approach to gain access to an archive or collection, has been invaluable. I also owe a great deal to the rest of my dissertation committee: Professors Meredith Gill, Marjorie Venit, Joseph Falvo, and Ann Sutherland Harris. Professor Venit, beyond reading and editing parts of the dissertation, has been a tireless iv advocate during my years at Maryland, as has Professor Gill, who has written countless letters of recommendation for fellowship and grant applications. My journey to Maryland and the completion of this dissertation began in my freshman year at the University of Pittsburgh in Professor Sutherland Harris’ course on seventeenth-century art and architecture. Professor Sutherland Harris has continued to offer support and assistance and I am truly honored to call her a friend. The rest of the faculty and staff and Maryland, particularly Dr. Henry “Quint” Gregory, Dr. Lauree Sails, Deborah Down, and Professor William Pressly, have also provided advice and encouragement over the years. Without Lauree and Quint, my ability to employ technology in art history would be non-existent and Deborah’s willingness to help with any logistical issue, no matter how small, has been vital in navigating all administrative procedures at Maryland. I have been fortunate to receive several grants and fellowships over the past nine years, beginning with the Young Scholars Award from the Cosmos Club Foundation. The award allowed me to travel to Madrid to view all of Dughet’s paintings in the collection of the Prado Museum and to examine archival records regarding the commission of landscapes for the Buen Retiro Palace. In 2010, I received a Fulbright IIE Fellowship to conduct research in Rome as an affiliate of the Bibliotheca Hertziana. During my ten months in Rome, I was able to view Dughet’s paintings and frescoes, study in archives and libraries, and track down publications unavailable in the United States. For the summer of 2012, I was granted an award from the Walter Read Hovey Memorial Fund, managed by The Pittsburgh Foundation. The funding provided me with more time in Rome to gain further access to restricted archival collections and libraries, completing the primary research for the dissertation. I was able to finish writing the dissertation thanks to v the Ann G. Wylie Dissertation Fellowship from the Graduate School at Maryland, which I received in the fall of 2012. Additionally, the University of Maryland has provided me with several smaller grants, including the College of Arts and Humanities Travel Award, which allowed me to conduct research in London while in the city to present a paper at a conference. I am grateful to have received assistance from a number of incredible people during my travels. I must first offer my gratitude to the staff of the Bibliotheca Hertziana, who were kind enough to grant access to the vast library and provide a space to work while in Rome. Alessandra Mercantini of the Archivio Doria Pamphilj set up multiple appointments and always cheerfully responded to my seemingly endless queries on the various documents. The librarians at the Biblioteca Apostolica Vaticana, both in the manuscript room and the printed book room, and the staff at the Archivio Segreto Vaticano, were always accommodating and willing to answer any question. The staff at the Archivio di Stato in Rome were able to deduce the exact documents I needed to see from the incomplete records noted in earlier scholarship. Giacinta Sanfelice di Bagnoli of the Colonna family arranged visits to the their palace on several occasions, which allowed me to spend a great deal of time examining the frescoes in the private apartments and to access the paintings the Galleria during the week when the public space is normally closed. Francesca Sinagra, curator at the Galleria Doria-Pamphilj, also granted me special access to the paintings in the collection, which are otherwise difficult to closely study during visitor hours. Additionally, I am indebted to Dr. Susan Russell of the British School at Rome, who kindly shared her own images of Palazzo Pamphilj at Piazza Navona and offered advice. Although the research on Dughet’s drawings receives only vi the briefest of discussions in the final version of this dissertation, I am thankful for the welcome and assistance I received from curators and staff at the British Library and the Courtauld Gallery in London, the Museum Kunstpalast in Düsseldorf, the Museé du Louvre, the École national supérieure des beaux-arts, and the Frits Lugt Collection at the Fondation Custodia in Paris, all of whom were incredibly helpful during my visits. This dissertation would have never come to fruition without the support and encouragement of many friends and family. At the University of Maryland, I offer thanks to all my fellow students and in particular to Abram Fox, who introduced me to the wonders of data visualization and its use in art history, Breanne Robertson, whose advice and friendship over the past seven years has helped me through the final push and who kept me grounded with the occasional break from working, and Adam Rudolphi, with whom I shared a number of remarkable experiences in Rome and who never once allowed me to doubt the importance of my research.
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