Rome, a view of Saint Peter's Basilica and the Vatican Seen From the Janiculum with monks.
Watercolor on paper signer lower right Muller 28,5 x 20,5 cm
Rome The fountain of Villa Medici with Obelisco Sallustiano and Trinita dei Monti
Watercolor on paper signer lower right Muller 27,5 x 20,5 cm
Both watercolors in very good condition exept sun coloration needs a good cleaning.
This fountain rises in front of Villa Medici and was commissioned around 1589 to Annibale Lippi by cardinal Ferdinando de’Medici. It consists of a large octagonal pond at the ground level, from the centre of which rises a pillar that supports a dull grey granite circular cupin the shape of a bowl with a marble sphere that pours water.
By tradition the sphere is a cannon ball that replaced a Medicean fleur-de-lis. In fact according to the story queen Christine of Sweden ordered to shoot a gun against the main gate of Villa Medici during a visit to Castel Sant’Angelo. The cannon ball was picked up and inserted at the top of the fountain to remember the event.
Rudolf Müller is one of the leading Swiss landscape artists specializing in Mediterranean views in the 19th century. Very young (15 years old) he goes regularly in the Swiss Alps with his friend Friedrich Horner (1800-1864), to paint landscapes for the tourists, especially English, and to constitute a nest egg. It is also thanks to the financial support of an English family that the two artists can afford a training trip to Paris, then realize their dream by settling in the Naples area in 1822. They know a great success, before going to settle in Rome in 1835, where they remain 13 years, with for main customers of English and Russian. The delicate political situation forces them to leave Rome in 1848 and return to Basel. In 1864, Müller definitely returns to Rome and gets married there. He rests in the Protestant cemetery of the city.
Wanted above all for his watercolors, which constitute the majority of his work, Müller is part of the tradition of landscapers "vedutists"; but if it respects the topography and the reality of the sites, it gives them a much more idealized and somewhat romantic look. If he keeps all his life a hot and Mediterranean palette, his end of career, about from 1870, is characterized by an almost pointillist touch, well illustrated by our watercolor, which shows a modern evolution of his style.