Who painted Portasi in Valle il Cavalier... (Arrival of the Master)?

Portasi in Valle il Cavalier... (Arrival of the Master) was painted by Marco Alvise Pitteri in 1763.

Where can I see Portasi in Valle il Cavalier... (Arrival of the Master)?

Portasi in Valle il Cavalier... (Arrival of the Master) is held by National Gallery of Art.

What movement is Portasi in Valle il Cavalier... (Arrival of the Master)?

Portasi in Valle il Cavalier... (Arrival of the Master) is associated with Romanticism.

Can I buy a print of Portasi in Valle il Cavalier... (Arrival of the Master)?

Museum-quality prints of Portasi in Valle il Cavalier... (Arrival of the Master) are available made-to-order from Artifact World Gallery.

Artwork

Portasi in Valle il Cavalier... (Arrival of the Master)

Marco Alvise Pitteri , 1763

Portasi in Valle il Cavalier... (Arrival of the Master) is an ink print by the Romanticist artist Marco Alvise Pitteri. It dates from 1763 and is held in the collection of the National Gallery of Art. Portasi in Valle il Cavalier.

Inscription: Inscribed:below image in plate: Petrus Longhi Pinxit Ven.is; Marcus Pitteri Sculpsit Ven.is / Portasi in Valle il Cavalier, cui piacque / Per solazzo cacciar gli augein dell'acque / Intrat Eques vallem gressu festinus ovanti, / Arte paludosas ut capiat volucres

About this work

Overview

Portasi in Valle il Cavalier... (Arrival of the Master) is a 1763 engraving on laid paper by the Venetian artist Marco Alvise Pitteri. The print depicts a small procession moving through an outdoor setting, centered on a gentleman in an elaborate coat, white stockings and a tricorn hat. The composition is framed by a dark, indistinct background that concentrates visual interest on the figures.

Subject & Meaning

The scene presents a formal arrival, likely of a noble or official, accompanied by attendants and servants. A secondary figure holds a monkey on a leash, a detail that injects a note of curiosity or exoticism into an otherwise solemn procession. The presence of bags, tools, and a long pole suggests a blend of ceremonial and practical duties within the group.

Technique & Style

Pitteri employed fine line work to render textures of fabric, fur and facial features, using cross‑hatching to suggest shadows and depth. The laid paper surface adds a subtle grain that enhances the tonal variation. The blurred backdrop is achieved through softer, less defined strokes, a common device in 18th‑century engravings to isolate the main figures.

History & Provenance

Created in 1763, the engraving belongs to the later phase of Pitteri’s career, when he was active in Venice producing prints after contemporary painters. The work has circulated among collectors of Italian prints and is now held in museum collections that focus on 18th‑century graphic art.

Context

During the mid‑1700s, Venetian engravers often reproduced scenes of aristocratic life for a market that prized detailed, portable images. Pitteri’s print reflects this trend, combining a narrative of social hierarchy with the technical precision expected of a master printmaker of the period.