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Giovanni Fattori (September 6, 1825 – August 30, 1908) was an Italian artist, one of the leaders of the group known as the Macchiaioli. He was initially a painter of historical themes and military subjects. In his middle years, inspired by the Barbizon school, he became one of the leading Italian plein-airists, painting landscapes, rural scenes, and scenes of military life. After 1884, he devoted much energy to etching.

Biography

Youth and training

Fattori was born in modest circumstances in Livorno. His early education was rudimentary and his family initially planned for him to study for a qualification in commerce, but his skill in drawing persuaded them to apprentice him in 1845 to Giuseppe Baldini (born 1807- ?), a local painter of religious themes and genre subjects. The following year he moved to Florence where he first studied under Giuseppe Bezzuoli and, later in the year, at the Accadèmia di Belli Arti. At that time, however, his energies were directed less toward the study of art than to reading the historical novels (especially those with medieval themes) of such authors as Ugo Foscolo, Francesco Domenico Guerrazzi and Walter Scott.

In 1848 he interrupted his studies and participated as a courier, distributing leaflets for the Partito d'Azione, in the democratic anti-Austrian movement during the revolutionary years of 1848-1849. However, his family prevented him from joining the army. In 1850 he resumed his studies at the Accademia in Florence. He made it a habit to note all his observations in small notebooks that he always kept with him, illustrating with innumerable sketches. Some of his later etchings were based on these observations.

Early paintings (to 1860)

Fattori's development to maturity as a painter was unusually slow. His first paintings, few of which survive, date from the early 1850s. They include portraits and a few historical scenes influenced by Bezzuoli—often scenes from Medieval or Renaissance history. In 1851 he participated in the Promotrice fiorentina with the painting Ildegonda, inspired by the short novel by Tommaso Grossi.
In 1853–54 he studied realism, together with the Turin artist Andrea Gastaldi (1826-1889). He probably painted his first landscapes in Gastaldi's company. Around 1857 Enrico Pollastrini, another pupil of Giuseppe Bezzuoli, introduced him to the style of Ingres. This had some impact on Fattori's historical paintings. One of his best historical themes was "Maria Stuarda", (Mary Stuart at the battlefield of Langside) painted between 1858 and 1860, based on his reading of Walter Scott.

In the early 1850s Fattori began frequenting the Caffè Michelangiolo on via Larga, a popular gathering place for Florentine artists who carried on lively discussions of politics and new trends in art. Several of these artists would discover the work of the painters of the Barbizon school while visiting Paris for the Exposition of 1855, and would bring back to Italy an enthusiasm for the then-novel practice of painting outdoors, directly from nature. In 1859 Fattori met Roman landscape painter Giovanni Costa, whose example influenced him to join his colleagues and take up painting realistic landscapes and scenes of contemporary life en plein air. This marked a turning point in Fattori's development: he became a member of the Macchiaoli, a group of Tuscan painters whose methods and aims are somewhat similar to those of the Impressionists, of which they are considered forerunners. Like their French counterparts, they were criticized for their paintings' lack of decorative qualities and conventional finish, although the Macchiaioli did not go as far as the Impressionists did in dissolving form in light.

In 1859 he won the competition for a patriotic battle scene, organized by the Concorso Ricasoli (national competition organized by the government of Bettino Ricasoli) with his painting Dopo la battaglia di Magenta (After the battle of Magenta) (completed in 1860-1861). The financial reward allowed him to marry Settimia Vannucci in July 1859 and to settle in Florence.

Paintings in the middle period (1861-1883)

Fattori's mature works represent a synthesis between the natural light of painting en plein air—painting with vivid but composed spots (macchia)—and the traditional method of composing large paintings in the studio, from sketches.

During the period 1861–1867 he stayed mainly at Livorno, to nurse his wife who had contracted tuberculosis. During this period he painted peasantry, themes from rural life and also some portraits, such as the portrait of Argia , his sister-in-law. In these works he demonstrated his mastery of macchia technique, natural light and shade with their contrasting areas of broad colour, showing the formative influence of Giovanni Costa.

In 1864 he submitted four more works to the Promotrice fiorentina. In his landscape painting La Rotonda di Palmieri (Palmieri's round terrace) (1866), geometrical simplicity and colour have become a structural part of the painting.

Late in 1866 he moved to a new and larger studio in Florence, to accommodate his larger historical canvases, as he still received commissions for epic battle scenes from the Italian unification (Risorgimento). A famous painting from this period is the Storming of the Madonna della Scoperta, an episode of the Battle of San Martino (1859).

Following the death of his wife in March 1867, he spent the summer of 1867 in Castiglioncello with the critic Diego Martelli, the theoretician of the Macchiaoli. Working together with the painter Giuseppe Abbati on the same themes, he painted a number of landscapes en plein air and studies of rustic life and peasants working in market gardens...

Please continue to read this article at Giovanni Fattori. This article uses material from that Wikipedia article and is licensed under the GNU Free Documentation License.

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