782

Eugenio Eduardo Zampighi

Italian, 1859-1944

Eugenio Eduardo Zampighi
(Italian, 1859-1944)

"The Happy Family"

oil on canvas
signed lower left.
Framed.
29" x 41", framed 35" x 47"

Provenance: J. George Mayer Gallery Inc., Bahia Mar Yachting Center, Fort Lauderdale, Florida; Private collection, Florida.

Notes: A native of Modena, Zampighi was born during a tumultuous time when the city was being besieged by waves of revolutionaries and invaders; shortly thereafter it was incorporated into the newly-unified Kingdom of Italy during the Risorgimento, and his childhood and earliest instruction were inevitably immersed in the cultural identity, history and past glories of Italy. This was to have a profound effect on the trajectory of his career, in terms of both style and subject.

A precocious artistic talent, at the young age of thirteen he was accepted at the Regia Accademia di Scienze, Lettere ed Arti di Modena, where he received a decidedly classical education which emphasized the ancient world and the Renaissance. After completing his studies with first class medals in all subjects, he was awarded a prestigious and highly coveted scholarship to study in Rome. In 1883, he traveled to Florence where he was exposed to the tenets of the Macchiaioli, an influential local group of plein air artists who extolled the virtues of the Italian working class and poor, rebuffing the sentimental.

Zampighi soon began creating scenes of domestic life which were intended to reveal the innate pride of everyday Italians. An early proponent of photography, he frequently would reference photographs he had taken of posed models and props in his studio. The resulting works, as evidenced by the fine example offered here, were intensely intimate interior scenes of families with the figures looking towards each other and blissfully unaware of the viewer. His academic training is apparent in the masterful interplay of light and shadow, the careful yet seemingly spontaneous composition, and the sophisticated color palette of warm-hued tones.

oil on canvas
signed lower left.
Framed.
29" x 41", framed 35" x 47"

  • Provenance: J. George Mayer Gallery Inc., Bahia Mar Yachting Center, Fort Lauderdale, Florida; Private collection, Florida.
  • Notes: A native of Modena, Zampighi was born during a tumultuous time when the city was being besieged by waves of revolutionaries and invaders; shortly thereafter it was incorporated into the newly-unified Kingdom of Italy during the Risorgimento, and his childhood and earliest instruction were inevitably immersed in the cultural identity, history and past glories of Italy. This was to have a profound effect on the trajectory of his career, in terms of both style and subject.

    A precocious artistic talent, at the young age of thirteen he was accepted at the Regia Accademia di Scienze, Lettere ed Arti di Modena, where he received a decidedly classical education which emphasized the ancient world and the Renaissance. After completing his studies with first class medals in all subjects, he was awarded a prestigious and highly coveted scholarship to study in Rome. In 1883, he traveled to Florence where he was exposed to the tenets of the Macchiaioli, an influential local group of plein air artists who extolled the virtues of the Italian working class and poor, rebuffing the sentimental.

    Zampighi soon began creating scenes of domestic life which were intended to reveal the innate pride of everyday Italians. An early proponent of photography, he frequently would reference photographs he had taken of posed models and props in his studio. The resulting works, as evidenced by the fine example offered here, were intensely intimate interior scenes of families with the figures looking towards each other and blissfully unaware of the viewer. His academic training is apparent in the masterful interplay of light and shadow, the careful yet seemingly spontaneous composition, and the sophisticated color palette of warm-hued tones.
  • Condition: **No sign of past restorations. Surface abrasions along edges, occasional small accretions on surface. Frame covers part of the signature. Photographed out of the frame.
    Frame with surface marks, nicks and abrasions.

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