Editing Francesco Zuccarelli (section)

==Reputation and legacy==
[[Image:Windsor Castle, Queen's Drawing Room, by Charles Wild, 1816 - royal coll 922102 257025 ORI 0.jpg|left|thumb|upright=1.4|The Queen's State Drawing Room at [[Windsor Castle]] in 1816, depicting seven landscapes by Francesco Zuccarelli, underneath a ceiling fresco by [[Antonio Verrio]]. The room was commonly known as the Zuccarelli Room in the Victorian era. Watercolour by [[Charles Wild]].{{efn-ua|This watercolour by [[Charles Wild]], with touches of bodycolour over pencil, was first published as an engraving in 1816 by Thomas Sutherland (1785&ndash;1838), in preparation for Pynes' ''The History of the Royal Residences.'' The paintings by Zuccarelli were laid on [[Mortlake Tapestry Works|Mortlake tapestries]] of the Seasons, situated beneath a ceiling painted by [[Antonio Verrio]] (1636&ndash;1707), depicting the Assembly of the Gods. During renovations in the 1830s, Verrio's fresco was replaced by decorative plasterwork, and Zuccarelli's paintings were hung in different places, while the underlying tapestries were removed.{{refn|{{cite web|url=https://www.royalcollection.org.uk/collection/search#/1/collection/922102/windsor-castle-the-queens-drawing-room|title=Windsor Castle: The Queen's Drawing Room|publisher=The Royal Collection Trust|id=RCIN 922102|access-date=27 September 2016}}}}{{refn|{{cite web|url=https://www.royalcollection.org.uk/collection/search#/1/collection/2935651/the-picture-gallery-windsor-castle|title=The Picture Gallery, Windsor Castle|publisher=The Royal Collection Trust|id=RCIN 2935651|access-date=27 September 2016}}}} In 1854, [[Harriet Beecher Stowe]] wrote, "I was charmed also by the nine landscapes of Zuccarelli, which adorn the state drawing room.  Zuccarelli was a follower of [[Claude Lorrain|Claude]], and these pictures far exceed in effect any of Claude's I have yet seen."{{sfn|Stowe|1854|pp=39–40}} The Zuccarelli Room stayed intact until shortly after Queen Victoria's death, when it was overhauled and became a picture gallery with displays of other old masters, and the Italian's paintings were moved elsewhere.{{refn|{{cite web|url=https://www.royalcollection.org.uk/collection/search#/1/collection/922102/windsor-castle-the-queens-drawing-room|title=Windsor Castle: The Queen's Drawing Room|publisher=The Royal Collection Trust|id=RCIN 922102|access-date=27 September 2016}}}}{{sfn|Ditchfield|Page|1923|pp=29–56|loc=[http://www.british-history.ac.uk/vch/berks/vol3/pp29-56 ''Windsor, castle: Architectural history'']|ps=; British History Online. Retrieved 27 September 2016.}}}}]]

Zuccarelli was one of the few Venetian painters of his era to win universal acclaim, even from critics who rejected the concept of Arcadia. He was especially popular among the followers of [[Jean-Jacques Rousseau|Rousseau]].{{sfn|Haskell|1986|p=328}} [[Francesco Maria Tassi]] (1716&ndash;1782), in his ''Lives of the Painters, Sculptors, and Architects of Bergamo'' remarks that Zuccarelli paints "landscapes with the most charming figures and thus excels not only artists of modern times but rivals the great geniuses of the past; for no one previously knew how to combine the delights of an harmonious ground with figures gracefully posed and represented in the most natural colours".{{sfnm|Tassi|1793|p=86|ps=; English translation cited by {{harvnb|Zampetti|1971|p=86}}}} With the move to more representational modes of depicting landscape in the 19th century, negative criticism began to develop, as described by the art historian [[Michael Levey]] in a landmark 1959 article, ''Francesco Zuccarelli in England.'' [[J. M. W. Turner|Turner's]] view was restrained, saying Zuccarelli's work was "meretricious", lacking the charm and grace of [[Jean-Antoine Watteau|Watteau]], and yet his figures were "sometimes beautiful". Victorian writers, among them partisans of [[Richard Wilson (painter)|Richard Wilson]], sensitive to the neglect of their favourite while the Italian flourished, used adjectives such as theatrical and insincere.{{sfn|Levey|1959a|pp=1, 15–16}} Levey contributed to a reevaluation of the artist by explaining the appeal of Zuccarelli to his contemporaries, drawing a parallel with the affection of the 18th century English for pastoral poetry, since everyone could recognize a pleasing convention when they saw one; in this case, a fairyland where "the skies are forever blue, the trees forever green."{{sfn|Levey|1959a|pp=16–18}} The exaltation of the rural life as a retreat from the bustle of urbanity had the sanction of a long and distinguished history; for "[[Virgil]] had recommended it, [[Petrarch]] had practiced it; Zuccarelli was left to illustrate it"; and in Levey's continuation, "at its best—in comparison to an age he never saw—Zuccarelli's work is highly decorative and still capable of giving pleasure".{{sfn|Levey|1959a|p=16}} While sparsely treated in Italy for much of the 19th and early 20th centuries, the painter never fell into disfavour there as in England.{{sfn|Spadotto|2007|pp=45–47, 385–393}} The last few decades have seen a resurgence of interest in Zuccarelli by Italian scholars, notably by Federico Dal Forno, who published an artistic biography with sixty paintings in 1994, and Federica Spadotto, who issued a [[catalogue raisonné]] in 2007. In a larger cultural context, modern historians have considered him to be a figure of interest because of his love of escapism, seen as not untypical of the late Baroque.{{sfn|Zampetti|1971|p=110}}

During the mid to late 18th century Zuccarelli was widely imitated, and artists influenced by him included Richard Wilson, [[Giuseppe Zais]], [[Giovanni Battista Cimaroli]], and [[Vittorio Amedeo Cignaroli]].{{sfnm|1a1=Dal Forno|1y=1994|1pp=33–34|2a1=Spadotto|2y=2009|2pp=326–328}} Among those who created engravings after his work were [[Joseph Wagner (engraver)|Joseph Wagner]], [[Fabio Berardi (engraver)|Fabio Berardi]], [[Giovanni Volpato]], [[Francesco Bartolozzi]], and [[William Woollett]].{{sfn|Huber|1803|pp=1163–1171}}

The ''Francesco Zuccarelli Municipal Library and Historical Archives'' is located in the Fortezza Orsini Cultural Centre, in Pitigliano, Italy, the town of the artist's childhood.<ref>{{cite web|title=Biblioteca Comunale Francesco Zuccarelli|url=http://www.comune.pitigliano.gr.it/index.php?T1=20|website=Città di Pitigliano: Provincia di Grosseto|access-date=17 April 2017|archive-url=https://web.archive.org/web/20160309155242/http://www.comune.pitigliano.gr.it/index.php?T1=20|archive-date=9 March 2016|url-status=live}}</ref><ref>{{cite web|title=Comune di Pitigliano. Biblioteca comunale "Francesco Zuccarelli" e Archivio storico|url=http://siusa.archivi.beniculturali.it/cgi-bin/pagina.pl?TipoPag=cons&Chiave=10922|website=Sistema Informativo Unificato per le Soprintendenze Archivistiche|access-date=18 April 2017|archive-url=https://web.archive.org/web/20170418082635/https://siusa.archivi.beniculturali.it/cgi-bin/pagina.pl?TipoPag=cons&Chiave=10922|archive-date=18 April 2017|url-status=live}}</ref> Also in the vicinity, the Museum of the Orsini Palace has on permanent exhibit Zuccarelli's earliest commissioned altarpieces.<ref>{{cite web|title=Il percorso museale|url=http://www.palazzo-orsini-pitigliano.it/index.php/it/museo/il-percorso-museale|website=Museo di Palazzo Orsini: Pitigliano. Palazzo Orsini & Museo di Arte Sacra|access-date=17 April 2017|archive-url=https://web.archive.org/web/20160201055537/http://www.palazzo-orsini-pitigliano.it/index.php/it/museo/il-percorso-museale|archive-date=1 February 2016|url-status=live}}</ref>