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Portrait of Countess Antonietta Negroni Prati Morosini as a child
new21/Francesco Hayez-257864.jpg
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Portrait_of_Countess_Antonietta_Negroni_Prati_Morosini_as_a_child
Portrait of Countess Antonietta Negroni Prati Morosini as a child (1858)
Civica Galleria d'Arte Moderna, Milan
(See also the portrait of her done in 1872)
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Bather viewed from behind
new21/Francesco Hayez-863854.jpg
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Bather_viewed_from_behind
Bather viewed from behind (1859)
Pinacoteca di Brera, Milan
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Female Nude
new21/Francesco Hayez-782947.jpg
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Female_Nude
Female Nude (c. 1859)
Pinacoteca di Brera, Milan
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Portrait of Count Baglioni
new21/Francesco Hayez-328572.jpg
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Portrait_of_Count_Baglioni
Portrait of Count Baglioni (c. 1860)
Private collection, Treviso
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Portrait of Massimo d Azeglio
new21/Francesco Hayez-559547.jpg
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Portrait_of_Massimo_d_Azeglio
Portrait of Massimo d' Azeglio (1860)
Pinacoteca di Brera, Milan
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Francesco_Hayez
1791-1882
Italian
Francesco Hayez Galleries
Hayez came from a relatively poor family from Venice. His father was of French origin while his mother, Chiara Torcella, was from Murano. The child Francesco, youngest of five sons, was brought up by his mother sister, who had married Giovanni Binasco, a well-off shipowner and collector of art. From childhood he showed a predisposition for drawing, so his uncle apprenticed him to an art restorer. Later he became a student of the painter Francisco Magiotto with whom he continued his studies for three years. He was admitted to the painting course of the New Academy of Fine Arts in 1806, where he studied under Teodoro Matteini. In 1809 he won a competition from the Academy of Venice for one year of study at the Accademia di San Luca in Rome. He remained in Rome until 1814, then moved to Naples where he was commissioned by Joachim Murat to paint a major work depicting Ulysses at the court of Alcinous. In the mid 1830s he attended the Salotto Maffei salon in Milan, hosted by Clara Maffei (whose portrait Hayez painted for her husband), and he was still in Milan in 1850 when he was appointed director of the Academy of Brera there.
Assessment of the career of Hayez is complicated by the fact that he often did not sign or date his works. Often the date indicated from the evidence is that at which the work was acquired or sold, not of its creation. Moreover he often painted the same compositions several times with minimal variations, or even with no variation. His early works show the influence of Ingres and the Nazarene movement. His later work participates in the Classical revival.
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