Giovanni Fattori 喬瓦尼·法托里 (1825 - 1908) Realism Impressionism Italian скачать в хорошем качестве

Giovanni Fattori 喬瓦尼·法托里 (1825 - 1908) Realism Impressionism Italian

[email protected] Text from Martin Hopkinson, 'Italian Prints 1875-1975', BMP, 2007 The Livorno born Fattori is now regarded as the outstanding Italian etcher of the later nineteenth century. His most significant artistic training was in Florence with Giuseppe Bezzuoli, and at the Accademia di Belle Arti. During Fattori's time in Florence, he frequented the Caffè Michelangiolo, where he met and became friends with a group of artists and writers with nationalist aspirations. His early pictures were landscapes and history paintings. Fattori indirectly imbibed the influence of Ingres through Enrico Pollastrini, another painter from Livorno. He thus learnt the importance of secure draughtsmanship and of simplicity in devising compositions. In 1859, the fervent Italian nationalist Giovanni Costa (1826-1903), a close friend of Frederick Leighton, and leader of the 'Etruscan School' of landscape painting in England, visited Fattori's studio, and encouraged him to enter a competition that year for a picture of a patriotic battle scene, which was organised by the Italian government, which was then based in Florence. Fattori's design for the 'Italian camp during the Battle of Magenta' earned him a commission for a painting of the subject, which was completed in 1860-61 (Palazzo Pitti, Florence). Preparatory work on this led him to travel to the sites of the battlefields in Northern Italy. A series of commissions for other Risorgimento battle scenes followed over the next 20 years, but the bulk of Fattori's work was devoted to landscapes and episodes of rural life, studied directly from nature. In the early 1860s, he painted alongside Giovanni Costa in the countryside around Livorno. Fattori's preference for elongated compositions derived from the paintings of his older friend. He painted a series of landscapes on small panels, often taken from cigar-box tops. Fattori retained the simplicity of the compositions of these pictures, when he came to paint larger works. In 1867, the critic, Diego Martelli, invited him to stay on his remote estate at Castiglioncello in the Maremma, close to the sea in south western Tuscany. The landscape, inhabitants, and animals of this low lying wooded district were to provide Fattori with fruitful motifs for his drawings and paintings for the rest of his career. In 1882, as the guest of Prince Corsini, he visited Maremma grossetana, the southern Maremma, which provided further subjects for his art. Fattori travelled to Rome in 1872 to make studies for his 'Horse Market at Terracina', and to Paris in 1875, where he exhibited as Costa's pupil at the Salon. He visited the Louvre, met many French artists, and studied the work of painters of the Barbizon school. However, although his friend and patron, Martelli, was an admirer of the Impressionists, Fattori's style was unaffected by his encounter with the art of his French contemporaries. His paintings were notable for their skilfully devised compositions of contrasted areas of bold and luminous colour. Fattori found it difficult to sell his paintings, and he gave private tuition to artists to earn a living. Scholars have interpreted the work of the last 30 years of his life as showing a harsher tone of realism, and as reflecting his financial disappointments and his disillusionment with political events. In December 1888, Fattori was appointed Professor of Drawing at the Accademia in Florence and Professor of Figure Study at the School of Architecture. He supplemented his income by teaching privately, when his salary was reduced. Fattori was highly respected as a teacher, and his influence on painters and printmakers extended well into the twentieth century. His plates are mostly in the Uffizi, which published restrikes in 1925 利沃諾出生法托里現在被視為19世紀後期的傑出意大利蝕刻。他最顯著的藝術訓練是在佛羅倫薩與朱塞佩·貝澤利，並在藝術學院DI佳麗ARTI。在法托里的時間在佛羅倫薩，他常去的Caffè米開朗基羅，他在那裡相識並成為朋友與一群藝術家和作家與民族願望。他早期的照片是景觀和歷史畫。法托里間接吸入安格爾通過恩里科·波拉斯特里尼，從利沃諾另一位畫家的影響。因此，他學會了在設計成分簡單的安全製圖術和重要性。 1859年，熱切意大利民族喬瓦尼·科斯塔（1826年至1903年），弗雷德里克頓的親密朋友，在英國風景畫的“伊特魯里亞學派”的領袖，參觀了法托里的工作室，並鼓勵他當年為進入競爭一個愛國的戰鬥場景，這是由意大利政府，那麼這是基於在佛羅倫薩舉辦的圖片。法托里的設計為“品紅色戰役期間，意大利陣營”為他贏得了委員會的問題，這是在1860至1861年（皮蒂宮，佛羅倫薩）完成了一幅畫。這一籌備工作使他前往意大利北部戰場的遺址。 一系列的佣金其他復興運動的戰鬥場面，隨後在接下來的20年，但法托里的大部分工作是致力於景觀和鄉村生活的插曲，直接從大自然學習。在1860年代初，他在利沃諾周圍鄉村畫旁邊喬瓦尼·科斯塔。法托里偏愛他年長的朋友的畫作衍生長組成。他畫上小板，往往是從雪茄盒頂部採取了一系列的景觀。法托里保留這些照片，組合物的簡單，當他來到畫較大的工程。 1867年，評論家，迭戈馬爾泰利，邀請他留在馬雷瑪在卡斯蒂利翁切洛他的遠程地產，接近西南托斯卡納大海。景觀，居民，而這個低窪樹木繁茂區的動物提供法托里與他的素描和油畫，他餘下的職業生涯卓有成效的圖案。 1882年，作為科西尼王子的客人，他參觀了馬雷瑪grossetana，南部的馬雷瑪，這為他的藝術提供了進一步的科目。 他板大多是在烏菲齊，出版restrikes於1925年