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The Wooden Footbridge at Combes-la-Ville (nn02)
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The_Wooden_Footbridge_at__Combes-la-Ville_(nn02)
1873
Oil on wood
6 1/2x10 3/8"
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Leith
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Leith
1881
Oil on canvas 45.6 x 41.8 cm
(18 x 16 1/2 in)
Palazzo Pitti Florence (mk63)
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Department for Violent Female Mental Patients at San Bonifacio in Florence
new4/Telemaco signorini-398994.jpg
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Department_for_Violent_Female_Mental_Patients_at_San_Bonifacio_in_Florence
mk68
oil on canvas
Venice,
modern Art Gallery
1865
Italy
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Settignano,September Morning
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Settignano,September_Morning
mk68
Oil on canvas
Florence,Modern Art Gallery
c.1892
Italy
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Leith
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Leith
mk186
1891
Florence, Galleria d-type Moderna
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Telemaco_signorini
Italian Painter, 1835-1901
was an Italian artist who belonged to the group known as the Macchiaioli. He was born in the Santa Croce quarter of Florence, and showed an early inclination toward the study of literature, but with the encouragement of his father, Giovanni Signorini, a court painter for the Grand Duke of Tuscany, he decided instead to study painting. In 1852 he enrolled at the Florentine Academy, and by 1854 he was painting landscapes en plein air. The following year he exhibited for the first time, showing paintings inspired by the works of Walter Scott and Machiavelli at the Florentine Promotrice. In 1855, he began frequenting the Caffe Michelangiolo in Florence, where he met Giovanni Fattori, Silvestro Lega, and several other Tuscan artists who would soon be dubbed the Macchiaioli. The Macchiaioli, dissatisfied with the antiquated conventions taught by the Italian academies of art, started painting outdoors in order to capture natural light, shade, and color. They were forerunners of the Impressionists who, beginning in the 1860s, would pursue similar aims in France. Signorini was a volunteer in the Second Italian War of Independence in 1859, and afterwards painted military scenes which he exhibited in 1860 and 1861. He made his first trip outside Italy in 1861 when he visited Paris, to which he would often return in the decades that followed. There he met Degas and a group of expatriate Italian artists in his orbit, including Giovanni Boldini, Giuseppe De Nittis, and Federico Zandomeneghi; unlike them, however, Signorini remained rooted in Italy. He became not only one of the leading painters of the Macchiaioli, but also their leading polemicist. Art historian Giuliano Matteucci has written: "If we acknowledge Fattori and Lega as the major creative figures of the macchiaioli, then Signorini must surely be recognized as their 'deus ex machina'",
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