Arnaldo Ferraguti
Arnaldo Ferraguti | |
|---|---|
| Born | 1862 |
| Died | 1925 |
| Nationality | Italian |
| Education | Accademia di Belle Arti of Naples |
| Occupation | Painter |
Arnaldo Ferraguti (1862-1925) was an Italian painter and illustrator, often painting genre subjects.
History
[edit]He was born in Ferrara but trained at the Accademia di Belle Arti of Naples, then under the leadership of Domenico Morelli. He befriended the painter Francesco Paolo Michetti and his circle at Francavilla al Mare.
In 1891, he married Olga Treves, granddaughter of the editors Emilio and Giuseppe Treves. He erected a villa in Pallanza where he taught painting, and attended salons in the nearby Villa Cordelia of Giuseppe Treves. He died in Forlì in 1925.[1]
Works
[edit]In 1887, he exhibited a series of pastel studies in Venice.
Starting in 1890, he submitted his masterwork: a massive (nearly 6 by 3 meter) canvas Alla vanga to various exhibitions, to praise and awards. The canvas depicts a line of peasants, from children to elders, including some barefoot women and children, breaking the soil with spades while nearby the supervisor talks to peasant working women.[2] The scene trumpets a clear affection for the hard-laboring proletarian farmers.[3] It can be contrasted to the less romanticized The Fourth Estate painting (1901) by Giuseppe Pellizza da Volpedo, which portrays workers with no pastoral embellishment.
Other works by Ferraguti include paintings and illustrations for books Illustrations for Cuoreby Edmondo De Amicis; Illustrations for Vita dei Campi by Giovanni Verga; in addition canvases depicting Madre; Vespero; Bivio; and Prima e poi.[4]
Gallery
[edit],_Milano,_Davanti_la_porta_del_loggione_della_Scala_-_Illustrazione_Italiana,1893.jpg)
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References
[edit]- ^ VerbaniaMuseum short biography.
- ^ Alla Vanga is now on display at the Museo del Paesaggio in Verbania-Pallanza.
- ^ History of Modern Italian Art, by Ashton Rollins Willard (1902), page 637-639.
- ^ La Biennale di Venezia, Volume 2, by Esposizione biennale internazionale d'arte, Biennale di Venezia (2 : 1897), page 109.
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