Tempio d’ Antonio e Faustina (between 1798 and 1799)

Technique: Giclée quality print
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Exuding an air of historic nostalgia, Thomas Girtin’s watercolor masterpiece, "Tempio d’Antonio e Faustina," provides a captivating glimpse into the past, both through its subject and its execution. Created between 1798 and 1799, this painting presents a sublime depiction of the ancient Temple of Antoninus and Faustina, located in the Roman Forum.Girtin’s brushstrokes masterfully capture the grandeur and decaying beauty of the Roman temple. The artwork is distinguished by its intricately detailed Corinthian columns and the fading, yet still striking, architectural reliefs that adorn the entablature. The partial ruin of the temple's structure is depicted with a delicate balance of resilience and subtlety, highlighting the ravages of time on human creations.Adding life to the historical edifice, Girtin includes figures within the composition—a herder with his flock and a lone individual—providing a sense of scale and everyday life amidst these monumental ruins. These figures not only underscore the continuing legacy of the structure but also humanize the scene, creating a connection between the viewer and the historical narrative.Situated under a gentle sky, the palette is a sophisticated blend of earth tones and soft skies, which evokes a serene, almost contemplative atmosphere. The play of light and shadow, combined with the realistic portrayal of textures, enhances the depth and realism of the scene."Tempio d’Antonio e Faustina" is a testament to Thomas Girtin’s skill in watercolor, capturing both the awe-inspiring nature of historical architecture and the transient beauty of everyday moments.

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Thomas Girtin was an English watercolourist and etcher. A friend and rival of J. M. W. Turner, Girtin played a key role in establishing watercolour as a reputable art form.

Thomas Girtin was born in Southwark, London, the son of a wealthy brushmaker of Huguenot descent. His father died while Thomas was a child, and his mother then married a Mr Vaughan, a pattern-draughtsman. Girtin learnt drawing as a boy (attending classes with Thomas Malton), and was apprenticed to Edward Dayes (1763–1804), a topographical watercolourist. He is believed to have served out his seven-year term, although there are unconfirmed reports of clashes between master and apprentice, and even that Dayes had Girtin imprisoned as a refractory apprentice. Certainly Dayes did not appreciate his pupil's talent, and he was to write dismissively of Girtin after his death.