View of the Tiber near Perugia (1872-1874)

Technique: Giclée quality print
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More about this artwork

Welcome to a serene vista captured by the masterful George Inness. "View of the Tiber near Perugia" is a mesmerizing landscape painting that takes viewers to the heart of the Umbrian landscape in Italy, during a period when Inness' approach was significantly evolving under the influence of the Barbizon school.The artwork captures a panoramic view of the Tiber River winding through a verdant countryside at dusk. The foreground features a vast expanse of shaded grass, transitioning into more luminous patches where the evening light gently kisses the ground. In this part, two figures are depicted in a moment of repose, enjoying the captivating view, their presence adding a human element that invites viewers to also pause and reflect.Dominating the right side is a cluster of trees, whose dense, dark foliage contrasts sharply with the softly illuminated sky. This dramatic interplay of light and shadow is one of Inness' hallmarks and adds a vibrant depth to the scene. The distant river, curving through the landscape, leads the eye toward a delicate horizon, where the last touches of sunlight merge with the subtle hues of a settling night.The painting is not just a mere representation but an evocation of mood and atmosphere. Inness uses softened edges and a harmonious palette to convey not just the sight, but the tranquil and almost mystical quality of the Italian countryside. The mastery with which he captures atmospheric effects is vivid and makes this piece an exquisite example of his middle-period work."View of the Tiber near Perugia" is more than just a landscape; it's a journey into the soul of nature, crafted by a painter who sees beyond the physical world into the spiritual or emotive landscape that surrounds us.

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George Inness (May 1, 1825 – August 3, 1894) was a prominent American landscape painter.

Now recognized as one of the most influential American artists of the nineteenth century, Inness was influenced by the Hudson River School at the start of his career. He also studied the Old Masters, and artists of the Barbizon school during later trips to Europe. There he was introduced to the theology of Emanuel Swedenborg, which was significant for him; he expressed that spiritualism in the works of his maturity (1879–1894).