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Federico Zandomeneghi (Italian, 1841–1917)
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Federico Zandomeneghi (Italian, 1841–1917)

Tête de Femme

Federico Zandomeneghi (Italian, 1841–1917)
Tête de Femme
signed 'Zandomeneghi' (lower left)
pastel on blue paper
16 1/8 x 13 in. (41 x 33 cm.)
with Durand-Ruel, Paris (photo no. 4005).
Angelo Sommaruga, Paris.
Private collection, Milan.
with Silbernagl, Daverio.
Acquired from the above by the father of the present owner.
And thence by descent to the present owner.
E. Piceni, Zandomeneghi, catalogo generale dell’ opera, Milan, 1967, no. 132 (illustrated).
E. Piceni, Zandomeneghi, catalogo generale dell’opera (second edition, edited by R. Capitani and M.G. Piceni), Busto Arsizio, 1991, no. 132 (illustrated).
Fondazione Enrico Piceni, Federico Zandomeneghi, catalogo generale – nuova edizione aggiornata e ampliata, Milan, 2006, p. 241, no. 189 (illustrated).
Special notice

These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction.
Sale room notice
Please note the medium for this lot should read 'Pastel on blue paper' and not as stated in the printed catalogue.

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Clare Keiller
Clare Keiller

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Lot Essay

When Federico Zandomeneghi arrived in Paris in 1874, the Venetian painter was already a fully formed artist with a noted ability for figure painting, established during the period he spent working with the exponents of Florentine realism, the Macchiaioli.
Zandomeneghi's oeuvre after his move to Paris was informed in part by the influence of his close peers, Edgar Degas and Paul Renoir, and in part by the dictates of his dealer, the leading Impressionist gallerist, Paul Durand-Ruel, to whom he had been introduced by Degas.
Exhorted by critics such as Emile Duranty to find his subject-matter in Parisian modern life, and invited by Edgar Degas to participate in the fourth Impressionist exhibition of 1879, Zandomeneghi's style evolved into one which adhered to Impressionist principles, while maintaining a significant narrative element.
Zandomeneghi's principal medium was pastel, a technique also favoured by Degas, but characterised by more intense colours, applied with a denser, almost painterly technique. The resulting works have a concentrated intensity, which seemed to exaggerate the intimacy of the interiors that formed the core of his subject matter.
Formerly in the famed collection of Angelo Sommaruga, the present lot portrays a lady against a background of vibrant pinks and blues. The emphasis is not so much on the figure's feminine beauty, but on her serene expression, which is set into stark relief by the coloured background.

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