Who painted Veuë de temple de Soleil à Rome (View of the Sun Temple in Rome)?

Veuë de temple de Soleil à Rome (View of the Sun Temple in Rome) was painted by François Collignon in 1633.

Where can I see Veuë de temple de Soleil à Rome (View of the Sun Temple in Rome)?

Veuë de temple de Soleil à Rome (View of the Sun Temple in Rome) is held by National Gallery of Art.

What movement is Veuë de temple de Soleil à Rome (View of the Sun Temple in Rome)?

Veuë de temple de Soleil à Rome (View of the Sun Temple in Rome) is associated with Baroque.

Artwork

Veuë de temple de Soleil à Rome (View of the Sun Temple in Rome)

François Collignon , 1633

Veuë de temple de Soleil à Rome (View of the Sun Temple in Rome) is an ink print by the Baroque artist François Collignon. It dates from 1633 and is held in the collection of the National Gallery of Art.

Inscription: Inscribed:lower center in plate: Israel ex. cum privil Regis; by later hand, upper right, in pen and brown ink [faded]: 19; by later hand, lower margin of shet, in graphite: F. COLLIGNON / AFTER SILVESTRE FAUCHEUX N.7 (p. 57) "VEUE DU TEMPLE DU SOLEIL A ROME"; by later hand, upper right verso, in graphite: C670

About this work

Overview

François Collignon’s 1633 etching, titled View of the Sun Temple in Rome, presents a tranquil riverside panorama that blends remnants of antiquity with contemporary 17th‑century architecture. Rendered in monochrome, the composition balances a partially ruined stone arch on a hill with a modest church and its soaring tower, while figures and livestock animate the foreground.

Subject & Meaning

The print juxtaposes ancient Roman ruins, suggestive of a once‑great sun temple, with a still‑functioning parish church, underscoring the continuity of sacred space across epochs. The presence of pedestrians and grazing animals along the riverbank conveys everyday life persisting amid historical layers, a visual meditation on the coexistence of past and present.

Technique & Style

Executed through copperplate etching, the work relies on fine line work and tonal washes to convey depth and atmosphere. Collignon’s handling of light and shadow creates a softened, slightly faded ambience, typical of Baroque printmaking that favored dramatic yet controlled compositions to guide the viewer’s eye across architectural and natural elements.

History & Provenance

Created in 1633, the etching belongs to a period when French engravers frequently produced views of Italian cities for a market eager for travel imagery. While specific ownership records are scarce, the print has appeared in several 19th‑century collections of European prints, reflecting its continued appeal to connoisseurs of historic cityscapes.