Who painted Old and New Rome, Victor Emanuel Monument?

Old and New Rome, Victor Emanuel Monument was painted by Joseph Pennell in 1911.

Where can I see Old and New Rome, Victor Emanuel Monument?

Old and New Rome, Victor Emanuel Monument is held by National Gallery of Art.

Artwork

Old and New Rome, Victor Emanuel Monument

Joseph Pennell , 1911

Old and New Rome, Victor Emanuel Monument is an ink print by Joseph Pennell. It dates from 1911 and is held in the collection of the National Gallery of Art.

About this work

Overview

Joseph Pennell’s 1911 lithograph titled Old and New Rome, Victor Emanuel Monument captures a panoramic view of the city where ancient structures sit beside contemporary architecture. Rendered in monochrome, the print juxtaposes classical columns and arches on the left with a modern dome and tower on the right, centering on a prominent monument crowned by a statue.

Subject & Meaning

The composition highlights Rome’s layered history, emphasizing the coexistence of its imperial past and early‑20th‑century developments. By placing the historic and the new within a single visual field, Pennell suggests a dialogue between the city’s enduring legacy and its ongoing urban transformation.

Technique & Style

Executed in lithography, the work relies on fine line work and varied shading to convey depth and texture. Pennell’s use of stark contrasts and a sketch‑like surface treatment creates a sense of immediacy, while the meticulous rendering of architectural details reflects his training in precise draftsmanship.

History & Provenance

Pennell produced the print after years of study with James Lambdin and Thomas Eakins, influences that honed his interest in architectural subjects. His exposure to James McNeill Whistler’s aesthetic further shaped his approach to tonal variation. The lithograph forms part of his extensive European output, where he frequently recorded industrial and historic sites.

Context

Created during a period when many artists were documenting urban change, the print aligns with Pennell’s broader practice of using printmaking to archive notable monuments and cityscapes. It reflects the early 20th‑century fascination with juxtaposing heritage and modernization in European capitals.