OIL PAINTING: Dresden, the Frauenkirche and the Rampische Gasse, 1749-1753
Bellotto probably used a camera obscura to reduce the church's height in Dresden, the Frauenkirche and the Rampische Gasse; because of the short distance the church is represented with a marked perspective distortion. Undoubtedly in order to prevent such distortions from dominating the image completely and to achieve a better spatial effect, the church is not shown frontally. Instead, Bellotto has shifted his attention to the right, so that the view is determined by the axis of the Rampische Gasse and only the roof and south wall of the church can be seen.
The Frauenkirche was the most important modern church of Dresden, the Kreuzkirche the most important old one. In the pendant to this painting (also in Gemaldegalerie, Dresden) Bellotto represented the Kreuzkirche.