Who painted Nella Venuta in Roma: pl. 6?

Nella Venuta in Roma: pl. 6 was painted by Franz Edmund Weirotter in 1764.

Where can I see Nella Venuta in Roma: pl. 6?

Nella Venuta in Roma: pl. 6 is held by National Gallery of Art.

What movement is Nella Venuta in Roma: pl. 6?

Nella Venuta in Roma: pl. 6 is associated with Romanticism.

Artwork

Nella Venuta in Roma: pl. 6

Franz Edmund Weirotter , 1764

Nella Venuta in Roma: pl. 6 is an ink print by the Romanticist artist Franz Edmund Weirotter. It dates from 1764 and is held in the collection of the National Gallery of Art.

About this work

Overview

Franz Edmund Weirotter’s 1764 etching titled Nella Venuta in Roma: pl. 6 presents a bustling urban scene rendered on laid paper. The composition is populated by several figures in contemporary dress, some kneeling, others extending their arms toward a focal figure positioned among clouds or smoke, set against a backdrop of architectural forms.

Subject & Meaning

The work captures a moment of collective attention, with the assembled crowd directing their gaze upward, suggesting a narrative of anticipation or reverence. The central, elevated figure, partially obscured by atmospheric effects, serves as a visual anchor that unifies the varied gestures of the surrounding participants.

Technique & Style

Executed as an etching, the image employs fine line work and varying tonal densities to convey texture and depth. The laid paper surface contributes subtle grain, enhancing the sense of atmospheric haze and reinforcing the dramatic tension characteristic of late‑Baroque sensibilities that anticipate Romantic emphasis on emotion.

History & Provenance

Created in 1764, the print is attributed to Austrian artist Franz Edmund Weirotter, known for his topographical and genre scenes. The piece forms part of a series documenting Roman vistas, though specific details of its early ownership remain undocumented.

Context

The composition reflects the 18th‑century fascination with Rome as a cultural and historical epicenter, aligning with contemporary travelers’ desire to capture the city’s grandeur. Weirotter’s choice to depict a crowd’s interaction with a celestial or symbolic presence mirrors broader Enlightenment interests in spectacle and public experience.