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Francesco Hayez: biography
Francesco Hayez was born into a poor Venetian family in and soon was sent to live with his uncle, Giovanni Binasco, a Genoese patron and lover of the arts. In that environment Francesco became acquainted with painting and began studying with Francesco Magiotti and Teodoro Matteini. After he won a competition in to study in Rome he moved to the capital, having been entrusted to Antonio Canova by Leopoldo Cicognara (the president of the Venetian academy). Thanks to the protection of the influential sculptor, in Hayez won the painting competition of the Accademia di Brera on the theme of Laocoön, and began to make a name for himself in Roman artistic milieus, especially among the classicists and purists as his early important works would show. These include the Rinaldo and Armida () that he sent to the Accademia di Venezia as his final project after three years in Rome, and Ulysses at the Court of Alcinous () that had been commissioned by Joachim Murat and sent to Napoleon’s court. With the Triumphant Athlete () Hayez won the competition of the Accademia di San Luca, defeating the purist Ingres. In he returned to Venice and also
Francesco Hayez - Biography
Biography
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's 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 Francesco Maggiotto with whom he continued his studies for three years. He was admitted to the painting course of the New Academy of Fine Arts in , where he studied under Teodoro Matteini. In 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 , 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 s 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 when he was appointed director of the Academy of Brera there.
Francesco Hayez lived long
Francesco Hayez, life and works of the great painter of Italian Romanticism
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Francesco Hayez was the leading exponent of Romanticism in Italy. We discover his life, major works, and style.
Francesco Hayez (Venice, - Milan, ) is the greatest exponent in Italy of Romantic painting, living in the era of transition between neoclassical and Romantic culture, placing himself as the main Italian painter of the latter current. Not only that: with some of his highly symbolic works of high patriotic value, such as the famous Kiss, painted in three versions(read an in-depth study of this work here), Hayez is also a painter who symbolizes theUnification of Italy, considered in painting as Alessandro Manzoni is considered in literature. His truthful historical reconstructions, the sentimental accents of his romantic paintings, and the political sentiment of his paintings are elements comparable to those in Manzoni’s literary works. Francesco Hayez’s art, although for a long time still set on formal values of a neoclassical character, demonstrated a sensitivity new to Italy in dealing with subjects of a historical or
Francesco Hayez
Francesco Hayez was an Italian painter and printmaker, famous for his portrait painting and historical Romantic images. The son of a French fisherman, he was introduced to painting by one of his uncles, an antique dealer, Francesco Binasco. His uncle had wanted Hayez to become a painting restorer. In he won a scholarship that allowed him to study in Rome, where he studied both Antique art and the works of Raphael.
Hayez moved to Milan in where he quickly established himself at the centre of intellectual and aristocratic life. Though he explored biblical and fictional themes in his paintings, he also displayed a keen interest in Italian history, often depicting key contemporary political and social figures in historical settings. His later work marked a departure from the grander historical subjects of his earlier paintings and became devoted almost entirely to allegorical themes, often with strong political connotations.
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