Federico Zandomeneghi, Woman in Red Hat, 1876

Federico Zandomeneghi (June 2, 1841-December 31, 1917) was an Italian Impressionist painter. Born in Venice in 1841, Zandomeneghi was born to an artistic family who’s both father and grandfather were sculptors. He enrolled in the Venice Academy in 1856 and later moved to Florence in 1860. There, he met several artists who were members of the Macchiaioli, or “macchia” movement, who drew inspiration from artists working in France.

The Macchiaioli

The 19th century was a particularly dynamic period in the history of Italy, as the various regions and city-states were struggling to define themselves and come together as one united nation. Artists, like Zandomeneghi focused on contemporary subject matter and embraced modern art and the impressionistic style coming out of France at this time.  As politicians and revolutionaries of Italy struggled for autonomy, artists too heeded the nationalistic call, chiefly the artists of the Macchiaioli group. These artists assembled in opposition to the thematic standards of the official Florentine Academy where many artists were trained. They were also drawn together politically during this period by the revolution known as the “Risorgimento”, and by their shared and fervent support for the ideals of Italian national unification. Artists depicted through vivid, gestural brushstrokes, social themes and rural subjects including the beauty of the Tuscan landscape and the people who populated it.

While in Florence, Zandomeneghi met Telemaco Signorini, Giovanni Fattori and Giuseppe Abbati, prominent members of the Macchiaioli group. He joined them in painting landscapes outside in the open air.  Painting outside known as "en plein air" was at the time an innovative approach (in opposition to the art academy teachings) and allowed for a new vividness and spontaneity in the rendering of light.

 In 1874 Zandomeneghi went to Paris where he remained until his death in 1917.  When he arrived in Paris, Zandomeneghi quickly formed friendships with members of the Impressionist group who had just had their first group exhibition. Zandomeneghi, whose style of painting was similar to theirs, would participate in four of their later exhibitions, in 1879, 1880, 1881, and 1886. Although his works were more sentimental in character than those by his close friend Edgar Degas, Zandomeneghi like him was primarily a figure painter. He also admired the work of Mary Cassatt and Pierre-Auguste Renoir, and his many paintings of women in their domestic routines follow their example. To supplement his income Zandomeneghi found employment by creating graphic illustrations for Parisian fashion magazines.

In the early 1890s, he started working in pastels and became especially skilled in this medium. At about this same time his reputation and his fortunes were enhanced when the art dealer Durand-Ruel showed Zandomeneghi's work in the United States. From then on, he enjoyed continuing modest success until his death in Paris in 1917.

Bibliography

Boime, Albert. Art in an Age of Civil Struggle, 1848-1871. Chicago: University of Chicago Press. 2008.

Broude, Norma Freedman. The Macchiaioli: Italian Painters of the Nineteenth Century. New Haven and London: Yale University Press, 1987. 

Broude, Norma Freedman. “The Troubetzkoy Collection and the Influence of Decamps on the Macchiaioli.” In The Art Bulletin. Sept 1980. Vol .LXII n.J, 398-408.

Cavina, Anna Ottani. “The Landscape of the Macchiaioli: A Path Towards the Modern.” In Journal of Modern Italian Studies. Mar 2013. 18:2, 225-231.

Steingräber, Erich and Giuliano Matteucci. The Macchiaioli: Tuscan Painters of the Sunlight. New York: Stair Sainty Matthiesen Gallery, 1984.

Timmins, John. “The Macchiaioli Affair: Lost and Found in Italy.” In Art Antiquity and Law. June 2002. Vol 7, Issue 2. 109-123.