Civita Castellana - Edward Lear
Archival giclée
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Description
A detailed oil painting by Edward Lear depicting the dramatic bridge and gorge at Civita Castellana, Italy, captured in warm, golden light.
Edward Lear, primarily known for his nonsense verse, was a highly skilled topographical draughtsman and painter. During his extensive travels across Italy, he produced numerous studies of the country's rugged terrain and historic architecture. This work depicts the town of Civita Castellana, situated on a volcanic plateau in the Lazio region. The composition focuses on the dramatic bridge that spans the deep gorge, a feature that frequently attracted artists on the Grand Tour.
Lear employs a warm, golden light to bathe the scene, suggesting the late afternoon sun. The foreground is defined by craggy rock faces and dense foliage, which provide a sense of scale against the architectural precision of the bridge. The distant mountains, rendered in softer, atmospheric tones, recede into the horizon. His technique balances the observational rigour of a topographer with the atmospheric sensibilities of the Romantic tradition. The bridge itself, with its rhythmic arches, acts as a structural anchor for the composition, drawing the eye across the chasm towards the town and the fortress beyond.
Unlike his later, more stylised works, this painting demonstrates a clear interest in the physical reality of the Italian countryside. The attention to geological detail and the specific quality of light reflects Lear's dedication to capturing the essence of the Mediterranean environment. The work remains a fine example of the nineteenth-century fascination with the intersection of human engineering and natural formations. By documenting these sites, Lear contributed to the visual record of a region that was undergoing significant change during the period. The print captures the textures of the stone and the depth of the valley, offering a view into the artist's meticulous approach to his craft.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Civita Castellana - Edward Lear
Artist Biography
Edward Lear
His landscape career ran simultaneously. From the 1840s he made extended sketching tours through Italy, Albania, Greece, Egypt, Palestine, India, and Ceylon, producing illustrated travel journals of careful documentary precision. In 1846 Queen Victoria sought him out as a drawing teacher, having admired his Italian lithographs; he gave her twelve lessons. Brief study under William Holman Hunt in 1852 introduced Pre-Raphaelite rigour to his oils, though his watercolours and pen-and-ink drawings remain his most direct legacy.
Lear suffered from epilepsy throughout his life, calling it the Demon and concealing it carefully from a society ill-equipped to understand it. He was severely shortsighted from childhood and lived with considerable loneliness, despite the warmth of his nonsense verse. He settled in San Remo in 1871, eventually naming his house Villa Tennyson after his close friend Alfred, Lord Tennyson, for whom he composed settings of 212 poems.
His cat, Foss, was his companion for 15 years. When Lear moved to a larger house in San Remo, he had it built to identical proportions so Foss would not be disoriented. Foss died two months before Lear, in January 1888. The Owl and the Pussycat (1871), containing the word runcible spoon, now in everyday English use, is his most enduring poem.
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