Band of horses

Casanova employed oil glazing to build subtle tonal variations in the horses’ coats, enhancing the texture of muscle and fur through layered translucent washes. Earthy browns, grays, and off-whites dominate, with delicate highlights suggesting sunlight filtering through clouds. The brushwork is precise yet fluid, capturing movement without theatricality. The background’s soft foliage and hazy sky recede gently, reinforcing depth without distracting from the central figures.

The painting entered the collection of the National Museum in Warsaw in the 19th century, likely as part of a broader acquisition of European works. Its origins trace to Casanova’s time in Central Europe, where he worked for aristocratic patrons after leaving Italy. While little documentation survives about its early ownership, its presence in Warsaw suggests it was valued for its technical refinement and quiet realism, distinguishing it from more flamboyant Rococo fare.

In the 1770s, European art saw a growing interest in natural observation, even within Rococo’s ornamental framework. Casanova’s *Band of Horses* aligns with this trend, echoing the animal studies of contemporaries like George Stubbs, though without the scientific precision. The absence of human figures and the emphasis on spontaneous movement reflect a broader cultural shift toward valuing nature as a subject worthy of quiet contemplation, not just decoration.

Though not widely exhibited beyond Poland, the painting remains a notable example of Casanova’s versatility beyond battle scenes. It contributes to the understanding of how Rococo aesthetics adapted to secular, non-narrative subjects. Its preservation in Warsaw offers insight into the tastes of Central European collectors who appreciated restrained realism, helping to bridge the gap between ornamental tradition and emerging 19th-century naturalism.