I like to complete this series about Naples and surroundings, and the Posillipo School of landscape painting, with a post dedicated to Capri, likely the best known of the islands which crown the Neapolitan Gulf. Nevertheless, not so much the touristy Capri of today, but rather as it was around the mid-nineteenth century. Below, in the top images, its rural and marine sides, respectively depicted by Neapolitan artists belonging to the School of Posillipo.
On the left: Giacinto Gigante, “View of Capri” (watercolour and tempera: Capodimonte Museum, Naples). On the right: Consalvo Carelli, “Marina of Capri” (oil painting: San Martino Museum, Naples). Lower, two works more by C. Carelli, both of them in private collections and undated, executed in the second half of the century anyway: on the left, “Capri” (oil on cardboard); on the right, “Capri, Tiberius Bridge” (oil on canvas, partial view).
Although an elite tourism was already present, the Romantic Capri of G. Gigante and C. Carelli was still anchored to its traditional rhythms. It's also true that they, and other painters of various nationalities, who depicted the island, indirectly contributed to its tourist development, until this assumed its current mass dimension. If the natural beauty of the places didn't change a lot, and was indeed enriched by archaeological or cultural resources, generally the same can't be said of the lifestyle of the local population.
Slowly, an original agricultural and fishing or artisanal economy converted to hotel industry, or a trade of imported luxury goods. In a few words, Capri became a symbol for modern international tourism, but also an early lesson on its merits and defects, worthy of being studied as such too. Pictorial or picturesque, art history may help us remember its essence, why it grew a pole of attraction before any other Mediterranean island; and perhaps lead us to reflect on what to do, so that it and similar privileged sites aren't contaminated or denaturalized.
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