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Fayl:Artgate Fondazione Cariplo - Hayez Francesco, Valenza Gradenigo.jpg

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Francesco Hayez: Valenza Gradenigo before the Inquisition  wikidata:Q105001687 reasonator:Q105001687
Artist
Francesco Hayez  (1791–1882)  wikidata:Q223725 q:it:Francesco Hayez
 
Francesco Hayez
Alternative names
Ajez; Hayez; Hayes; francesco hayer; francesco hayez; Francisco Hayez
Description Italian rassom, fotograf, lithographer, graphic artist va engraver
Date of birth/death 10 fevral 1791 / 11 fevral 1791 Edit this at Wikidata 10 fevral 1881 / 12 fevral 1882 / 21 dekabr 1882 Edit this at Wikidata
Location of birth/death Venesiya Edit this at Wikidata Milan Edit this at Wikidata
Work period 1806 Edit this at Wikidata–1882 Edit this at Wikidata
Work location
Milan, Venesiya, Rim
Hokimiyat nazorati
artist QS:P170,Q223725
image of artwork listed in title parameter on this page
Title
italyan:
Valenza Gradenigo davanti agli Inquisitori

Valenza Gradenigo before the Inquisition
title QS:P1476,it:"Valenza Gradenigo davanti agli Inquisitori"
label QS:Lit,"Valenza Gradenigo davanti agli Inquisitori"
label QS:Lde,"Valenza Gradenigo vor der Inquisition"
label QS:Len,"Valenza Gradenigo before the Inquisition"
Object type rasm
object_type QS:P31,Q3305213
Taʼrif

This painting purchased on the antique market entered the Cariplo Collection in 1971. It was executed in 1835 for Andrea Maffei, poet, translator and iconographic adviser to Francesco Hayez. He subsequently gave it to his wife Clara who displayed it in her famous and much frequented salon in Milan.

The work adds a fictional element to a historic episode, which at the time had become familiar through literary works: the tragedy Antonio Foscarini by Giovanni Battista Niccolini, published in Florence in 1827, and the French novel Foscarini ou le patricien de Venise.

Valenza Gradenigo, guilty of having attempted to save the man she loved – Senator Antonio Foscarini, condemned for treason in 1622 – is led before the Venice Inquisitors who include her father, the inflexible judge depicted in the centre of the room. Set against the skilfully studied theatrical setting of the scene with its contrasting figures and calibrated light effects is a silent dialogue of glances and expressions exchanged between the characters: the father’s stern composure, the furtive glance of the servant supporting the woman, the scornful expression of the young judge.

Valenza Gradenigo before her Father the Inquisitor, the first version of the painting executed in 1832 for the Milanese notable Antonio Patrizio, in the small format of an anecdotal painting, was donated to the Brera Academy in 1900, and is now in storage at Villa Carlotta in Tremezzo, while the later versions of the same subject dating from 1845 are lost. This second version was particularly popular with both critics and public, and Pietro Bagatti Valsecchi made many prints of it as well as enamel miniatures on copper and porcelain. This initiated a trend towards the depiction of obscure and tragic Venetian historical episodes in history painting, which were often replicated in different versions such as Last Meeting between Jacopo Foscari and his Family Before Being Sent into Exile, also in this collection.
Sanasi 1835
date QS:P571,+1835-00-00T00:00:00Z/9
Medium oil on canvas
medium QS:P186,Q296955;P186,Q12321255,P518,Q861259
Dimensions balandligi/bo'yi: 96 cm; width: 115,5 cm
dimensions QS:P2048,96U174728
dimensions QS:P2049,115.5U174728
institution QS:P195,Q2054135
Current location
Italiano: Sezione II
Accession number
FCIP 0045
Inscriptions

Signature :

Hayez F.
Notes Elena Lissoni, Artgate Fondazione Cariplo
References
  • Francesco Ambrosoli, Esposizione delle opere di belle arti in Brera (articolo V), in “L’Eco”, a. VIII, n. 116, 28 settembre 1835, p. 461
  • Esposizione dei grandi e piccoli concorsi ai premi e delle opere degli artisti e dei dilettanti nelle gallerie della I. R. Accademia di belle arti per l’anno 1835, Imp. Regia Stamperia, Milano 1835, n. 35, p. 11
  • Ignazio Fumagalli, Esposizione di Belle Arti nell’I. R. palazzo di Brera, in “Biblioteca italiana, ossia giornale di letteratura, scienza ed arti”, vol. LXXIX, settembre 1835, p. 338-339
  • Luigi Lambertini, Esposizione delle Belle Arti. Hayez, in “Gazzetta privilegiata di Milano, n. 262, 19 settembre 1835, p. 1029-1030
  • Le glorie delle belle arti esposte nel palazzo di Brera l’anno 1835, Vallardi, Milano 1835, pp. 69-71
  • Cletto Porro, Album Italiano. Esposizione di Belle Arti in Milano nel settembre 1835, in “Ricoglitore Italiano e Straniero”, a. II, settembre 1835, pp. 429-430
  • Giulio Carotti, Appendice, in Francesco Hayez, Le mie memorie, con discorso di Emilio Visconti Venosta, R. Accademia di Belle Arti, Milano 1890, pp. 277
  • Raffaello Barbiera, Il salotto della contessa Maffei, Istituto Editoriale Italiano, Milano 1940 (I ed. 1845), p. 18
  • Giorgio Nicodemi, Francesco Hayez, vol II, Ceschina, Milano 1962, tav. 84
  • Asta di dipinti del XIX secolo, Finarte, Milano 1970, n. 80, p. 14
  • Sergio Coradeschi, L’opera completa di Francesco Hayez, Rizzoli, Milano 1971, p. 95, ill. n.152c
  • Fernando Mazzocca, Francesco Hayez. Catalogo Ragionato, Federico Motta Editore, Milano 1994, n. 208, p. 243-244, ill. p. 243
  • Caterina Ferri, Francesco Hayez. Valenza Gradenigo davanti ai giudici, in Tesori d’arte delle Banche Lombarde, Associazione Bancaria Italiana, Milano 1995, n. 518, p. 269, ill.
  • Caterina Ferri, Valenza Gradenigo davanti ai giudici, in Carlo Pirovano, a cura di, Luci e colori del vero. Genti e paesi nella pittura veneta e lombarda dalle collezioni Ambroveneto-Banca Intesa e Fondazione Cariplo, catalogo della mostra, Monza, Serrone delle Villa Reale, 20 novembre 1998-24 gennaio 1999, Electa, Milano 1998, n. 42, pp. 102-103
  • Paola Zatti, Valenza Gradenigo davanti ai giudici, in Sergio Rebora, a cura di, Le collezione d’arte. L’ottocento, Fondazione Cassa di Risparmio delle Province Lombarde, Milano 1999, n. 118, p. 202-203
  • Fernando Mazzocca - Sergio Rebora, a cura di, Capolavori in smalto e avorio. Pietro Bagatti Valsecchi e la miniatura d'après, catalogo della mostra, Milano, Museo Bagatti Valsecchi, 24 novembre 2004 - 6 febbraio 2005, Silvana editoriale, Cinisello Balsamo 2004, ill. p. 72
Source/Photographer Artgate Fondazione Cariplo
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w:en:Creative Commons
atribut bir xil ulashish
Bu fayl Creative Commons asosida litsenziyalangan Attribution- Share Alike 3.0 Unported litsenziyasi.
Attributsiya: Fondazione Cariplo
Siz erkinsiz:
  • ulashishga – ishlanmani nusxalash, tarqatish va uzatish
  • remiks qilishga – ishni moslashtirishga
Quyidagi shartlar asosida:
  • atribut – Siz tegishli litsenziyaga havolani taqdim etishingiz va oʻzgartirishlar kiritilganligini koʻrsatishingiz kerak. Siz buni har qanday oqilona yoʻl bilan qilishingiz mumkin, lekin litsenziar Sizni yoki Sizning foydalanishingizni ma'qullashini taklif qiladigan tarzda emas.
  • bir xil ulashish – Agar Siz materialni remiks qilsangiz, oʻzgartirsangiz yoki unga asoslansangiz, oʻz hissalaringizni asl nusxadagi kabi bir xil yoki mos litsenziya ostida tarqatishingiz kerak.

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