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拍品專文
Born in Barletta in 1846, Giuseppe de Nittis began his artistic education in the studio of Giambattista Calò and Vincenzo Dattoli in Naples. In 1861, the young artist was admitted to the Instituto di Belle Arte di Napoli where he studied with Giuseppe Mancinelli and Gabriele Smargiassi. After his expulsion from the Instituto for ‘poor conduct’, de Nittis, together with the sculptor Adriano Ceccioni and the painters Marco de Gregorio and Federico Rossano, founded the Sculoa di Resina, a group of young artists who sought to approach nature with a new directness. De Nittis was especially focused on capturing the effects of changing light and atmospheric conditions.
In 1867, de Nittis traveled to Florence and then on to Paris where he met Jean-Léon Gérôme and Jean-Louis-Ernest Meissonier. The young artist signed a contract with the Parisian dealer Adolphe Goupil the following year, and in 1869 exhibited his first paintings at the Paris Salon. In 1873, he met Edgar Degas and was invited to participate in the first exhibition of the first Impressionist exhibition. His career was cut short by his untimely death at 38 of a cerebral hemorrhage while in Saint-Germain-en-Laye, outside of Paris.
Although not well-known outside of Italy, de Nittis is a central figure to the aesthetic and institutional upheavals of the 1870s. His urban scenes of Paris feature innovative arrangements and plein air subjects with a detailed realism that depicts a sophisticated and booming city. His friendships with Degas, Edouard Manet and his early collaborations in Naples with a young Gustave Caillebotte place him firmly within the sphere of the most innovative artists of the early Impressionist movement.
De Nittis was in love with Paris, with all its beauty, society, life, culture and art. He sought to capture the essence of the ever-changing city through images of its beautiful women, bustling streets and beautiful architecture. In Signora sulla neve con cagnolino, the artist has chosen an overcast day, just after a snowfall, with a young woman walking her small dog in a park. With a very tightly controlled palette, De Nittis has captured all the nuances of the color white. His pigment is laced with pink and grey to depict the overcast sky, with a purer white pigment with just a hint of green to depict the fresh snow. The placement of the bare trees in the park draws the viewer’s eye to the gracious mansions lining the park, while birds peck carefully through the frozen surface in search of food, furthering the transition back through the picture plane. The mansions are executed in shades of pink and grey, which leaves the viewer with the impression that they are seen through a misty lens, so evocative of Paris at the end of a winter’s day.
In 1867, de Nittis traveled to Florence and then on to Paris where he met Jean-Léon Gérôme and Jean-Louis-Ernest Meissonier. The young artist signed a contract with the Parisian dealer Adolphe Goupil the following year, and in 1869 exhibited his first paintings at the Paris Salon. In 1873, he met Edgar Degas and was invited to participate in the first exhibition of the first Impressionist exhibition. His career was cut short by his untimely death at 38 of a cerebral hemorrhage while in Saint-Germain-en-Laye, outside of Paris.
Although not well-known outside of Italy, de Nittis is a central figure to the aesthetic and institutional upheavals of the 1870s. His urban scenes of Paris feature innovative arrangements and plein air subjects with a detailed realism that depicts a sophisticated and booming city. His friendships with Degas, Edouard Manet and his early collaborations in Naples with a young Gustave Caillebotte place him firmly within the sphere of the most innovative artists of the early Impressionist movement.
De Nittis was in love with Paris, with all its beauty, society, life, culture and art. He sought to capture the essence of the ever-changing city through images of its beautiful women, bustling streets and beautiful architecture. In Signora sulla neve con cagnolino, the artist has chosen an overcast day, just after a snowfall, with a young woman walking her small dog in a park. With a very tightly controlled palette, De Nittis has captured all the nuances of the color white. His pigment is laced with pink and grey to depict the overcast sky, with a purer white pigment with just a hint of green to depict the fresh snow. The placement of the bare trees in the park draws the viewer’s eye to the gracious mansions lining the park, while birds peck carefully through the frozen surface in search of food, furthering the transition back through the picture plane. The mansions are executed in shades of pink and grey, which leaves the viewer with the impression that they are seen through a misty lens, so evocative of Paris at the end of a winter’s day.