Hendrick Frans van Lint
The son of the Flemish history painter Pieter van Lint (1609-1690), Hendrick Frans van Lint travelled to Rome in the early eighteenth century, possibly in 1703, after studying in his home town of Antwerp with Pieter van Bredael. In Rome he probably entered the workshop of the famous vedutista Gaspar van Wittel (1652/4-1736), himself just back from Naples; although back in Antwerp for a short time in 1710, Van Lint settled in the Eternal City and was soon known as Monsù Studio, after his Bentvueghels nickname. His first known works as a landscape and view painter date from 1711, and established Van Lint as one of the leading artists in both fields. Apart from the typical Grand Tour, iconic places such as Colosseo and Campo Vaccino, his many subjects include lesser monuments on the Roman consular ways, the Christian Basiliche outside the city walls and villages in the surrounding countryside, all portrayed within large landscape foregrounds. A few of his subjects, namely views of Naples and of Piazza del Popolo in Rome, are based on Van Wittel models, even in size and proportions.
As a landscape painter, Van Lint found an important reference in Claude Lorrain’s work, which in some cases he actually copied. Van Lint’s work in both fields was collected by all Roman noble families, starting with the Colonna and the Rospigliosi, as well as by foreign travellers on their Grand Tour. His realistic views are based upon carefully drawn preparatory studies, the most significant group now in Berlin, Kupferstichkbinett, from the collection of the sculptor Vincenzo Pacetti who, in his turn, had bought the collection of his master, the famous Bartolomeo Cavaceppi, whose inventory (1799) included five volumes of view and landscape drawings.