Francesco Hayez

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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Francesco Hayez Destruction of the Temple of Jerusalem oil


Destruction of the Temple of Jerusalem
Painting ID::  59329
Destruction of the Temple of Jerusalem
Destruction of the Temple of Jerusalem (1867) Galleria d'Arte Moderna, Venice
   
   
     

Francesco Hayez Odalisque oil


Odalisque
Painting ID::  59331
Odalisque
Odalisque (1867) Pinacoteca di Brera, Milan
Odalisque_(1867) Pinacoteca_di_Brera,_Milan
   
   
     

Francesco Hayez Portrait of Gioacchino Rossini oil


Portrait of Gioacchino Rossini
Painting ID::  59332
Portrait of Gioacchino Rossini
Portrait of Gioacchino Rossini (1870) Pinacoteca di Brera, Milan
   
   
     

Francesco Hayez Portrait of Antonietta Negroni Prati Morosini, Oval oil


Portrait of Antonietta Negroni Prati Morosini, Oval
Painting ID::  59333
Portrait of Antonietta Negroni Prati Morosini, Oval
Portrait of Antonietta Negroni Prati Morosini, Oval (1872) Civica Galleria d'Arte Moderna, Milan
   
   
     

Francesco Hayez Self portrait at age 88 oil


Self portrait at age 88
Painting ID::  59334
Self portrait at age 88
Self-portrait at age 88 (1879) Galleria d'Arte Moderna, Venice
   
   
     

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     Francesco Hayez
     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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