View of the Castello di San Giuliano, near Trapani, Sicily

Provenance

(Galerie Antoine Laurentin, Paris); purchased May 1996 by Frank Anderson Trapp [1922-2005], Pittsburgh; gift 2004 to NGA.

View of the Castello di San Giuliano, near Trapani, Sicily

Sarazin de Belmont, Louise-Joséphine

c. 1824/1826

Accession Number

2004.166.34

Medium

oil on canvas

Dimensions

overall: 22.9 x 29.9 cm (9 x 11 3/4 in.)

Classification

Painting

Museum

National Gallery of Art

Washington, D.C., United States

Credit Line

Gift of Frank Anderson Trapp

Tags

Painting Neoclassical & Romantic (1751–1850) Oil Painting Canvas French

Background & Context

Background Story

View of the Castello di San Giuliano, near Trapani, Sicily from c. 1824/1826 is Sarazin de Belmont's view of the castle near Trapani in western Sicily, in the precisely observed, atmospheric manner that distinguishes her best Italian landscapes. The c. 1824/1826 date places this in Sarazin de Belmont's early Italian period, when she was producing the precisely observed Sicilian views that are among her most accomplished works, and the Trapani subject shows her interest in the less well-known sites of Sicily as well as the more famous ones like Taormina.

Cultural Impact

View of the Castello di San Giuliano is important in the history of French landscape painting because it shows Sarazin de Belmont's interest in the less well-known sites of Sicily, rather than only the famous ones painted by most French artists. Sarazin de Belmont's precisely observed views of less well-known Italian sites represent an important expansion of the veduta tradition beyond the usual subjects, and the c. 1824/1826 painting shows how a woman artist could contribute to the veduta tradition by painting less familiar subjects with the same precision and atmosphere.

Why It Matters

View of the Castello di San Giuliano is Sarazin de Belmont's precisely observed Sicilian veduta: the castle near Trapani rendered in the atmospheric manner of one of the most accomplished women landscape painters of the early 19th century. The c. 1824/1826 painting shows her interest in less well-known Sicilian sites, expanding the veduta tradition beyond the usual subjects.