Who painted The Bay of Naples with Mounts Vesuvius and Somma?

The Bay of Naples with Mounts Vesuvius and Somma was painted by Giovanni Battista Lusieri in 1788.

Where can I see The Bay of Naples with Mounts Vesuvius and Somma?

The Bay of Naples with Mounts Vesuvius and Somma is held by National Gallery of Art.

What movement is The Bay of Naples with Mounts Vesuvius and Somma?

The Bay of Naples with Mounts Vesuvius and Somma is associated with Romanticism.

Artwork

The Bay of Naples with Mounts Vesuvius and Somma

Giovanni Battista Lusieri , 1788

The Bay of Naples with Mounts Vesuvius and Somma is an ink drawing by the Romanticist artist Giovanni Battista Lusieri. It dates from 1788 and is held in the collection of the National Gallery of Art.

About this work

Overview

Created in 1788, *The Bay of Naples with Mounts Vesuvius and Somma* is a landscape drawing by Neapolitan artist Giovanni Battista Lusardi.

Created in 1788, *The Bay of Naples with Mounts Vesuvius and Somma* is a landscape drawing by Neapolitan artist Giovanni Battista Lusardi. Executed on laid paper that has been mounted to a paperboard support, the work combines watercolor washes with pen and black‑ink detailing over an initial graphite sketch. The composition presents a panoramic view of the Bay of Naples framed by the twin volcanic peaks of Vesuvius and Somma.

Subject & Meaning

The image captures a tranquil seascape dominated by the looming silhouettes of Vesuvius and its older cone, Somma, suggesting both the beauty and the latent power of the region’s geology. By emphasizing the calm waters against the dramatic mountains, the drawing reflects the 18th‑century fascination with picturesque natural settings and the sublime qualities of volcanic landscapes.

Technique & Style

Lusardi employed a layered approach: a light graphite underdrawing establishes the basic forms, followed by transparent watercolor washes that model atmospheric depth. Pen work and dense black ink outline the architectural elements and accentuate the rugged outlines of the volcanoes, creating a contrast between delicate color and precise line typical of late‑Baroque Italian topographical studies.

History & Provenance

At the time of its execution Lusardi served as court painter to Ferdinand I of the Two Sicilies, a position that connected him to the royal patronage network of Naples. In the early 19th century he entered the service of Thomas Bruce, 7th Earl of Elgin, and later assisted in the relocation of the Elgin Marbles, linking the drawing to broader cultural exchanges between Italy and Britain.