1846 - 1884 - XIX

GAM1534

Unità di misura: cm; Altezza: 31.5; Larghezza: 42.5

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The Apulian Giuseppe De Nittis was one of the most appreciated and recognised artists in Paris in the second half of the 19th century, thanks also to his relationship with the famous merchant Alphonse Goupil. He was the only Italian artist invited by his friend Edgar Degas to the first exhibition of the Impressionists, organised in the studio of the photographer Nadar in 1974. De Nittis distinguished himself for the views of the cities where he stayed, including Paris and London, delving into the theme of the urban upper middle class, particularly the female figures, in the rapidly changing urban environment from 19th century cities to modern metropolises. The subject presented in this work recurs in several of De Nittis' canvases that often present subjects portrayed from an elevated viewpoint, as the artist depicted scenes of Parisian life inside a special carriage that allowed him to witness, unseen and from a privileged vantage point, city episodes. Worthy of note is the painting's breakthrough to the right, leading all the way to the Arc de Triomphe as a vanishing point that compensates for the captivating figures of the amazon and her friends, sketched with attention to details in the central part of the painting. The painting, signed ‘De Nittis’, depicts a horsewoman riding down a city avenue.

1884 - 1885 - XIX

GAM1537

Unità di misura: cm; Altezza: 98; Larghezza: 57

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An elderly gentleman plays the guitar for four young people who gather around him to appreciate his virtuosity. The group has clearly just finished a meal, as evidenced by the half-empty glasses and breadcrumbs, which form a refined still life on the white tablecloth. The interior of the house is modest but rich in detail: the cage, the sprig of vegetation growing out of the wall, the globe, the tin box, the scrap of fabric.

1860 - 1890 - XIX

GPB 679

Unità di misura: cm; Altezza: 86.2; Larghezza: 43

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Venezia - 1991<br>Genova - 1984<br>Venezia - 1983<br>Venezia - 1959<br>Collezioni di Luigi e G.B Lazzaro Frugone - Palazzo Bianco, Genova - 1938

Dating back to 1890, the year in which it won the gold medal at the Boston Exhibition, the work is a female portrait composed with great skill and elegance, emphasising the independent character of the subject – a sort of early feminist manifesto, slightly tempered, in reality, by the habit of Venetian ladies of frequenting cafés alone. In the coquettish pose indicated by the raised little finger, the work contains two themes of the painting of the time: a portrait and a view, that of Venice, which can be seen beyond the window in the background of the painting. The painting can be compared to the slightly earlier portrait “Signora con veletta” (Lady with Veil) from the Bianchini collection in Venice, which depicts the same character in half-length, at the same table in the same café, absorbed in unknown thoughts. The painting depicts a young woman sitting and sipping a cup of coffee during a break from reading the Gazzettino di Venezia newspaper. The woman's bust emerges from the white of the newspaper, which is echoed by the whiteness of the landscape. The woman's dark dress is accented by a bright tartan taffeta bow, while her forehead and eyes are partially hidden by the veil of a hat decorated with satin ribbons.

1909 - 1909 - XX

GPB 765

Unità di misura: UNR; Misure mancanti: MNR

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The canvas has a counterpart in the view of the same title, now in the Gallery of Modern Art in Venice. The colours are muted, the square is grey, barely lit by the rays of a pale sun that transforms the pavement, wet from the recent storm, into a mirror, allowing the painter to demonstrate his skill in rendering the effects of light and shadow, in the best Venetian tradition.