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 Die Befreiung Vittor Pisanis aus dem Kerker oil


Die Befreiung Vittor Pisanis aus dem Kerker
Painting ID::  91948
Die Befreiung Vittor Pisanis aus dem Kerker
1840(1840) Medium oil on canvas Dimensions Deutsch: 100 X 178 cm cyf
   
   
     

Francesco Hayez Der Tod des Dogen Marin Faliero oil


Der Tod des Dogen Marin Faliero
Painting ID::  91982
Der Tod des Dogen Marin Faliero
1867(1867) Medium oil on canvas Dimensions Deutsch: 192 X 238 cm cyf
   
   
     

Francesco Hayez Sizilianische Vesper oil


Sizilianische Vesper
Painting ID::  92172
Sizilianische Vesper
1846(1846) Medium oil on canvas Dimensions Deutsch: 225 X 300 cm cyf
   
   
     

Francesco Hayez Valenza Gradenigo before the Inquisition oil


Valenza Gradenigo before the Inquisition
Painting ID::  92422
Valenza Gradenigo before the Inquisition
1835(1835) Medium oil on canvas Dimensions Height: 96 cm (37.8 in). Width: 115.5 cm (45.5 in). cjr
   
   
     

Francesco Hayez Sizilianische Abende oil


Sizilianische Abende
Painting ID::  93619
Sizilianische Abende
1846(1846) Medium oil on canvas Dimensions Deutsch: 225 x 300 cm cjr
   
   
     

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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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