Victorian Women Urinate

Age of Impressionism. The second part Macchiola

Caffè Michelangelo-
Adriano Cecconi in 1867 about ,
-private collection-

I Macchiaoli

the artistic landscape of the mid-nineteenth Italy is diverse, strong connotations in different social and cultural contexts. A phenomenon which runs parallel to the process of liberation and unification of the peninsula. The common sense of patriotism is one of the very factors that contribute to the spread of pictorial languages, between artists of different backgrounds.

The most important work of the Italian movement was formed in Florence.
The meeting place was a small room of the "coffee Michelangelo" and here that the fervent discussions about the problems of art are beginning to talk about new ways of painting.
E 'in 1856 which raises the official date of birth painting "stain" in the paintings of

Macchiaoli forms are not isolated from the natural environment through the boundary line drawn, but as distinct patches of color or sovrammesse other spots of color.

Basic however, is the game that carries the light as the form for macchiaioli not exist but is created from light.
And then the light hitting the object is returned to our as eye color.

The color is for the individual the only way to get in touch with the reality that, for macchiaioli must be returned within as a composition of stains.

This theory influence the next movement French Impressionist, deepening the conversation.

In 1875, the experience of "Spot" was over.

Laura Panucci .

IN THE MASTERPIECE

the Rotunda of the bathrooms Palmieri,
1886, Florence, Palazzo Pitti.

The work was very small (12 X 35) Ben pictorial evidence of the research factors Livorno in the summer of 1866, when the artist reworks, with stunning results, the lesson macchiaiola gained over the years in Florence in the rooms of Caffè Michelangelo.
The scene is a glimpse of daily life for some ladies.
The artist has painted the work en plein air, but only drew numerous sketches from life, then processed in studio.La appearance of women and the background landscape are suggested by well-defined pieces of color, in line with the thesis macchiaiole.Le small size of the support does not come at the cost of breathing monumental and vast, airy open space that factors known to impose on the scene.

Silvestro Lega. Sharpshooters leading
prisoners Austrian Gallery of Modern Art, Florence

Episode of the War of 1859
The work represents the return of sharpshooters
a reconnaissance
Austrian prisoners and was executed by the artist around 1861.

SYLVESTER LEAGUE Girls who are the ladies,
cm. 25 x 41.5, private collection, Florence

Mario Puccini children in the camps,
cm. 40.5 x 32, private collection, Livorno

Cecioni, Adriano (1836-1886) - The embroiderers
1866 (The embroiderers)

This artist belonged to the group of historic
Macchiaioli.
During a stay in arcades, from 1863 to 1867
founded the "School of Resina"

IN THE MASTERPIECE

Italian Field after the Battle of Magenta
Giovanni Fattori , 1862, Florence, Palazzo Pitti.

IL September 23, 1859 the provisional government of Tuscany to announce a competition for various categories of works of art inspired by patriotic. The competition is named after Baron Bettino Ricasoli, head of government and ministers inside, and with the Minister of Education Marchese Cosimo Ridolfi is a promoter. The regulation provides for different sections, devoted to subjects of ancient history, modern and contemporary
Giovanni Fattori participates in the section devoted to the battle of Magenta, sending two sketches, he won the second (Italian Field after the Battle of Magenta) The artist did not focuses on the heroic episodes of the battle, but in the back. The work of factors can be considered the first modern historical context of gender ... The soldiers are ordinary people there are no heroes nor recognizable faces. The battle is over, collect the wounded and count the dead. The nun, with their clothes white and blacks, as well as soldiers with red hats and dark uniforms, facilities to the ground for factors include color contrasts typical painting spot.

Vincenzo Cabianca The start of the fishing boat,
private collection, Milan

Francis Gioli
The Woodman San Rossore, 1887 Oil on
canvas

Telemachus Signorini
Sulle colline a Settignano, 1885
Olio su tela - Dim: 37 x 50 cm

TELEMACO SIGNORINI-
Una via di Edimburgo, cm. 38 x 30, Collezione privata,
Lugo di Vicenza

Silvestro Lega, Il pergolato,1868, Milano,
Pinacoteca di Brera.

Antonio Puccinelli, La passeggiata al Muro Torto ,
1852, oil on canvas, 46x56. Private collection.

IN THE MASTERPIECE

Silvestro Lega
The singing of the ditty.
1867, Florence, Palazzo Pitti

paintings exhibited for the first time at the Promoter of Florence in 1867, is one of the masterpieces of the League.
The apparent simplicity conceals a layout of the scene complex and profound reflection on the classics of the Italian Quattrocento. No coincidence that Smith arrived at the spot of painting through a phase of the academy.

The woman who plays the piano is romantically linked to the artist, guest of his family who lives in a beautiful villa near Florence. Together with
Batelli, teacher of music in a realtàposano his two sisters.
subject of daily life and private Tie a size almost as an altarpiece.

Outside the window, the gentle Tuscan countryside, wrapped in summer fog. Even this part of the landscape, barely hinted at, suggested, runs the thought, with the serenity, the views included as background in the fifteenth blades.

References to Renaissance painting in the canvas of a league are not forced nor ostentatious imitations are desired at any cost, the artist intends to return the painting to the truth "to our large-century, the desire to continue the healthy tradition of not more with the divine feeling of that time but with the human emotion of our age.

Raphael Sernesi petty thief fig ,
1861 ca., oil on cardboard, 18.2 x 13, 5.
Florence, Galleria d'Arte Moderna in Palazzo Pitti.

Portrait of Alaide Banti B, cm. 42 x 23,
Galleria d'Arte Moderna, Florence

Telemaco Signorini,
Fishmongers in Lerici in the Gulf of La Spezia ,
1860-61, oil on canvas, 39x65 . Private collection.

Vincenzo Cabianca, The monk, 1861, Matteucci
Institute.

Filippo Palizzi after the flood, universal, 1863,
Naples, Museo Nazionale di Capodimonte

Women Nino Costa, ship wood to the port of Anzio
1832, Rome, National Gallery of Modern Art

Adriano Cecioni
"Interior with Figure, 1868, Rome,
Galleria Nazionale d 'Arte Moderna

Joseph Abban Interior of a kiosk,
1863, Florence, Palazzo Pitti.

Filippo Carcano. The small flower
1862, private collection.

The poetics of affection "to the painting of historical subjects is associated with more and more obvious points of contact, a kind of production, which is an expression of a" poetics of affection ", already its Romantic era, now revisited with a new spirit. The artists "spy" the life of man, depicting family history, it captures the smile on a person's face, the tear on the cheek of a girl, you follow the beggar in the pubblica via si penetrano, le piazze, le chiese, i teatri, le taverne. In lombardia lavora Filippo Carcano, abile interprete di scene del genere. La sua opera più importante, la piccola fioraia, è un capolavolo di piacevolezza. Vede protagonista una giovane donna mendicante seduta a riposare, accanto al suo cesto di fiori appassiti, sul gradino di un vialetto che conduce alla sua abitazione.

Gioacchino Toma Luisa S. Felice in carcere, 1874,
Napoli, Museo di Nazionale di Capodimonte

Beautiful canvas Toma dedicated to one of the female figures of the Risorgimento.
Woman sentenced to be beheaded by the Bourbons for the government revealed plans for restoration loyalist. The sentence raises an uproar in the city because it is rumored that the woman is pregnant.

I would understand the meaning of life

I hear his voice I want to be a leaf and breeze

will want to talk with water, with the guardian of
rocks,
with the moon, the sun and talk to the trees


I discover that divine love that lies within
of things.
I would wander the universe,
play with the clouds,
sit on the planets.
dell'univeso
quiet and I find my new
new creed.

Maria Rosaria Di Lella.

Images from Google.
news
book-The history of art. "
I thank my daughter Laura, Pesenti

for his painting of the "Macchia"