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Melancholy Thought
Painting ID:: 59294
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Francesco Hayez
Melancholy Thought
Melancholy Thought (1842)
Private collection, Milan
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Portrait of Felicina Caglio Perego di Cremnago
Painting ID:: 59295
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Francesco Hayez
Portrait of Felicina Caglio Perego di Cremnago
Portrait of Felicina Caglio Perego di Cremnago (1842)
Private collection, Milan
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Samson and the Lion
Painting ID:: 59296
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Francesco Hayez
Samson and the Lion
Samson and the Lion (1842)
Galleria d'Arte Moderna, Florence
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Meeting of Jacob and Esau
Painting ID:: 59297
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Francesco Hayez
Meeting of Jacob and Esau
Meeting of Jacob and Esau (1844)
Pinacoteca Tosio Martinengo, Brescia
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Sicilian Vespers, Scene 3
Painting ID:: 59300
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Francesco Hayez
Sicilian Vespers, Scene 3
Sicilian Vespers, Scene 3 (1846)
Galleria Nazionale d'Arte Moderna, Rome
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Francesco Hayez
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1791-1882
Italian
Francesco Hayez Galleries
Hayez came from a relatively poor family from Venice. His father was of French origin while his mother, Chiara Torcella, was from Murano. The child Francesco, youngest of five sons, was brought up by his mother sister, who had married Giovanni Binasco, a well-off shipowner and collector of art. From childhood he showed a predisposition for drawing, so his uncle apprenticed him to an art restorer. Later he became a student of the painter Francisco Magiotto with whom he continued his studies for three years. He was admitted to the painting course of the New Academy of Fine Arts in 1806, where he studied under Teodoro Matteini. In 1809 he won a competition from the Academy of Venice for one year of study at the Accademia di San Luca in Rome. He remained in Rome until 1814, then moved to Naples where he was commissioned by Joachim Murat to paint a major work depicting Ulysses at the court of Alcinous. In the mid 1830s he attended the Salotto Maffei salon in Milan, hosted by Clara Maffei (whose portrait Hayez painted for her husband), and he was still in Milan in 1850 when he was appointed director of the Academy of Brera there.
Assessment of the career of Hayez is complicated by the fact that he often did not sign or date his works. Often the date indicated from the evidence is that at which the work was acquired or sold, not of its creation. Moreover he often painted the same compositions several times with minimal variations, or even with no variation. His early works show the influence of Ingres and the Nazarene movement. His later work participates in the Classical revival. |
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