NITTIS, Giuseppe de - b. 1846 Barletta, d. 1884 Saint-Germain-en-Laye - WGA

NITTIS, Giuseppe de

(b. 1846 Barletta, d. 1884 Saint-Germain-en-Laye)

Italian painter, pastelist and printmaker. Throughout his career he was committed to a plein-air aesthetic and was particularly interested in rendering varying light effects, a concern that brought him into contact with the Impressionists. He was also acquainted with the members of the Macchiaioli, for whom his work was influential. In addition to oils, he experimented with printmaking and made innovative use of pastels. Practicing a restrained, and therefore ‘acceptable’, form of Impressionism, he achieved great success in his lifetime, both nationally and internationally.

Bow Window
Bow Window by
Breakfast in the Garden
Breakfast in the Garden by

Breakfast in the Garden

The mid-nineteenth century in Italy was the period of the Risorgimento, the movement that culminated in Italian unification. That movement provided the political and cultural backdrop for one of the most important and influential groups in Italian art in the second half of the nineteenth century: the Macchiaioli. This group of landscape, portrait and genre painters, flourishing from about 1850 to 1880, was based on Florence. The core of the Macchiaioli consisted of eleven painters born between 1824 and 1838, most important of them among the older painters were Giovanni Fattori, Silvestro Lega, Serafino de Tivoli, and Vincenzo Cabianca, while Giuseppe Abbati and Telemaco Signorini belonged to the younger. There were some other artists associated with the group to varying extent, such as Guglielmo Ciardi, Giuseppe de Nittis, Federigo Zandomeneghi, and Giovanni Boldini. The last-named three all took their bearings from France, and eventually moved to Paris.

To develop his skills, De Nittis went to Paris in 1868, settled there and became established. In 1873, through Degas, he met the Impressionists, and had five pictures in their first group exhibition in 1874. He also had more conventional work in the Salon, but his brushwork, composition and technique were steadily coming into line with French Impressionist practice in paintings such as The Victoria Embankment, London or Breakfast in the Garden.

Japanese Ladies Admiring a Screen
Japanese Ladies Admiring a Screen by

Japanese Ladies Admiring a Screen

The Amazon
The Amazon by
The Place des Pyramides in Paris
The Place des Pyramides in Paris by

The Place des Pyramides in Paris

De Nittis, who briefly worked with the Impressionists in 1874 and may have been inspired by Degas to work in pastel in 1877, painted the most distinctive scenes capturing life in the boulevards and squares. His work was in great demand.

The Races at Longchamps from the Grandstand
The Races at Longchamps from the Grandstand by

The Races at Longchamps from the Grandstand

The Victoria Embankment, London
The Victoria Embankment, London by

The Victoria Embankment, London

The mid-nineteenth century in Italy was the period of the Risorgimento, the movement that culminated in Italian unification. That movement provided the political and cultural backdrop for one of the most important and influential groups in Italian art in the second half of the nineteenth century: the Macchiaioli. This group of landscape, portrait and genre painters, flourishing from about 1850 to 1880, was based on Florence. The core of the Macchiaioli consisted of eleven painters born between 1824 and 1838, most important of them among the older painters were Giovanni Fattori, Silvestro Lega, Serafino de Tivoli, and Vincenzo Cabianca, while Giuseppe Abbati and Telemaco Signorini belonged to the younger. There were some other artists associated with the group to varying extent, such as Guglielmo Ciardi, Giuseppe de Nittis, Federigo Zandomeneghi, and Giovanni Boldini. The last-named three all took their bearings from France, and eventually moved to Paris.

To develop his skills, De Nittis went to Paris in 1868, settled there and became established. In 1873, through Degas, he met the Impressionists, and had five pictures in their first group exhibition in 1874. He also had more conventional work in the Salon, but his brushwork, composition and technique were steadily coming into line with French Impressionist practice in paintings such as The Victoria Embankment, London or Breakfast in the Garden.

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