ATTR:Egisto Ferroni Orientalist Antique c19th Century Original Oil Canvas

£2,731.05 £2,048.29 Buy It Now or Best Offer, Click to see shipping cost, 14-Day Returns, eBay Money Back Guarantee
Seller: 1kul57 ✉️ (2,714) 95.5%, Location: Laurel, Maryland, US, Ships to: WORLDWIDE, Item: 284386939924 ATTR:Egisto Ferroni Orientalist Antique c19th Century Original Oil Canvas. ATTRIBUTED TO: Egisto Ferroni-Antique c19th Century French Orientalist Original Oil On Canvas Portrait Painting. Minor in-painting on outside of figure-figure not touched-Painting in EXCELLENT CONDITION! Gold Gilded Carved Wood Frame-minor gild loss upper right side of frame(hard to notice). MEASURES: Framed- 35 1/2" x 22 1/2" - Unframed- 28 1/4" x 15". PLEASE WAIT FOR INVOICE!------BIOGRAPHY---------------------------------

FERRONI , Egisto . - He was born in Lastra a Signa (Florence) on December 14th. 1835 to Egiziano and Teresa Soldaini.  The eldest of eight children, he was initiated into the art of his father, master stonemason, who wanted him to be an ornatist and who sent him first to Empoli and then to Florence to learn the trade from local artisans.  In 1851 F. entered the Academy of Fine Arts in Florence where he studied, until 1857, drawing, figure and perspective, reporting "prizes in the ornate drawing, in the drawing by the chalk and in the academy designed " (Somarè, 1939. p 25).

After leaving the Academy, he spent a few more years in Florence attending E. Pollastrini and S. Ussi, who started him to study the historical-anecdotal composition; some of his drawings and portraits (  The Girlfriend of the Painter  , 1858 and  The Grandfather Bista   , sketch, 1860: Florence, private collection) document this early youthful period revealing, next to the neoclassical inspiration and some ideas derived from A. Ciseri, a decisive orientation towards observation and realistic rendering.  In 1862, established in Lastra a Signa, where in the meantime he had taken a wife (1860), F. painted his first historical picture,  The meeting of Charles VIII with the Florentine ambassadors in Ponte a Signa   (preserved in the municipal building).  The painting is still linked to the academic canons, as are the numerous gender squares, with figures in eighteenth-century costume, which were commissioned in those same years by the Pisani gallery in Florence (Boito, 1873).  Although he was sensitive to the requests expressed in Florence by the Macchiaioli movement, the F. did not join the group, of which he did not share the technical novelties, but, abandoned the academic painting of historical subject, dedicated himself to the rural theme portraying characters and episodes of the Tuscan countryside by an incisive design with a strong plastic prominence.

In 1863 he exhibited at the Promoter of Florence the Return from the fair (1862: Florence, private collection) that, together with other works of those years ( The visit, 1863: Florence, Modern Art Gallery of Palazzo Pitti), documents how his painting was definitively oriented towards the expression of truth.  At the Promoter of 1868 he presented  Le trecciaiole   (1867: London, National Gallery), inaugurating a series of larger and more complex compositions.  In contact with some members of the Macchiaioli movement, among which G. Fattori, O. Borrani, N. Cannicci, L. Gioli and, above all, T. Signorini, the F., reserved and meticulous, rarely moved from Tuscany; in 1878 he was in Paris on the occasion of the Universal Exposition where he exhibited his paintings  La boscaiola e Gita   by boat   (unknown location). In Paris he got to know the different orientations of French naturalism, and in particular he was attracted to the painting by J. Bastien-Lepage. 

In 1878 the most fruitful decade of the painter's life opens.  Most of the paintings commissioned by the Count of Frassineto (  L'infioccatura , 1877, Towards the sheepfold , La barca , La caccia , Il ballo , from 1879, Il carro , 1881: Frassineto, coll conte Frassineto ) ; a series of idyllic pictures, often of small size, such as inserting, at times, purely pictorial motifs in delicate shades of gray (  the camps , 1881. The woodsman  , 1883: Florence, Galleria d'Arte Moderna in Palazzo Pitti,  The street merchant , 1882: Palermo, Gallery of modern art;  Father returns   , 1883: Rome, National Gallery of Modern Art); some portraits (  La madre , 1873: Milan, private collection) and numerous studies and sketches.  At the National Exposition of Turin in 1879, F. presented  At the source   (Florence, Art Gallery of Pitti Palme), which also exhibited the following year to the Florentine Promoter, receiving the consensus of D. Martelli, F. Martini and A. Cecioni.  In those same years, with A. Tommasi, he rented a studio in Florence in via Milton, where for a few years he privately taught painting.

Member of the Society of Fine Arts and Honorary Academic of the Florentine Academy of Design since 1882, in 1889 F. took part in the The mother and the lumberjack .  From 1891 a depressive crisis, due to the death of his son Raffaele, slowed down the work of F. which also reduced participation in the exhibitions. Present in 1897 at the Venice Biennale with  Amori santi , in 1906 in Rome he exhibited Back to the source at the Second exhibition of the Association of Italian Artists. 

He was the author of some sketches and drawings for the Bellariva ceramics factory, directed by his son Giuseppe, and he also modeled the reliefs depicting the Harvest and Harvest for the "Vittorio Emanuele" steamer saloon.  In 1908 he settled in Florence, at the home of his son Arrigo, where he died on May 25, 1912.
----------------------------------------------------------------ORIENTALISM------------------------------------------------------------------------------------

                                                                                                                                                                                                                              Orientalism is a term that is used by art historians, literary and cultural studies scholars for the imitation or depiction of aspects in Middle Eastern, South Asian, African and East Asian cultures (Eastern cultures). These depictions are usually done by writers, designers and artists from the West. In particular, Orientalist painting, depicting more specifically "the Middle East", was one of the many specialisms of 19th-century Academic art, and the literature of Western countries took a similar interest in Oriental themes.   Since the publication of Edward Said's Orientalism in 1978, however, much academic discourse has used the term "Orientalism" in reference to a patronizing Western attitude towards Middle Eastern, Asian and North African societies. In Said's analysis, the West essentializes these societies as static and undeveloped—thereby fabricating a view of Oriental culture that can be studied, depicted, and reproduced. Implicit in this fabrication, writes Said, is the idea that Western society is developed, rational, flexible, and superior.   "Orientalism" refers to the Orient or East, in contrast to the Occident or West, and often, as seen by the West, often as "a form of radical realism". Orient came into English from Middle French orient (the root word is oriēns, L). Oriēns has related meanings: the eastern part of the world, the part of the sky in which the sun rises, the east, the rising sun, daybreak, and dawn. Together with the geographical concepts of different ages, its reference of the "eastern part" has changed. For example, when Chaucer wrote "That they conquered many regnes grete / In the orient, with many a fair citee" in Monk's Tale (1375), the "orient" refers to countries lying immediately to the east of the Mediterranean or Southern Europe; while in Aneurin Bevan's In Place of Fear (1952) this geographical term had already expanded to East Asia—"the awakening of the Orient under the impact of Western ideas". Edward Said, author of "Orientialism" notes that Orientialism "enables the political, economic, cultural and social domination of the West not just during colonial times, but also in the present".   "Orientalism" is widely used in art to refer to the works of the many Western 19th-century artists, who specialized in "Oriental" subjects, often drawing on their travels to Western Asia. Artists as well as scholars were already described as "Orientalists" in the 19th century, especially in France, where the term, with a rather dismissive sense, was largely popularized by the critic Jules-Antoine Castagnary. Such disdain did not prevent the Société des Peintres Orientalistes ("Society of Orientalist Painters") being founded in 1893, with Jean-Léon Gérôme as honorary president; the word was less often used as a term for artists in 19th century England.Orientialism is argued to be used to make the East seem "less fearsome to the West".   Since the 18th century, Orientalist has been the traditional term for a scholar of Oriental studies; however the use in English of Orientalism to describe the academic subject of "Oriental studies" is rare; the Oxford English Dictionary cites only one such usage, by Lord Byron in 1812. The academic discipline of Oriental studies is now more often called Asian studies.   In 1978, the Palestinian-American scholar Edward Said published his influential and controversial book, Orientalism, which "would forever redefine" the word; he used the term to describe what he argued was a pervasive Western tradition, both academic and artistic, of prejudiced outsider interpretations of the East, shaped by the attitudes of European imperialism in the 18th and 19th centuries. Said was critical of this scholarly tradition and of some modern scholars, particularly Bernard Lewis. Said's Orientalism elaborates Antonio Gramsci's concept of hegemony and Michel Foucault's theorisation of discourse and relationship between knowledge and power. Said was mainly concerned with literature in the widest sense, especially French literature, and did not cover visual art and Orientalist painting. Others, notably Linda Nochlin, have tried to extend his analysis to art, "with uneven results". Said's work became one of the foundational texts of Postcolonialism or Postcolonial studies. Furthermore, Edward Said notes that Orientialism as an "idea of representation is a theoretical one: The Orient is a stage on which the whole East is confined". According to Edward Said's conference on April 16, 2003 it is evident that he believes that the developing world which includes primarily the west is the cause of colonialism. Stephen Howe, the author of Empire: A Very Short Introduction, evidently agrees that Western nations and Empires were created by underdeveloped countries and in doing so causing the extraction of wealth and labour from one nation to another.   The Moresque style of Renaissance ornament is a European adaptation of the Islamic arabesque that began in the late 15th century and was to be used in some types of work, such as bookbinding, until almost the present day. Early architectural use of motifs lifted from the Indian subcontinent has sometimes been called "Hindoo style". One of the earliest examples is the façade of Guildhall, London (1788–1789). The style gained momentum in the west with the publication of views of India by William Hodges, and William and Thomas Daniell from about 1795. Examples of "Hindoo" architecture are Sezincote House (c. 1805) in Gloucestershire, built for a nabob returned from Bengal, and the Royal Pavilion in Brighton.   Turquerie, which began as early as the late 15th century, continued until at least the 18th century, and included both the use of "Turkish" styles in the decorative arts, the adoption of Turkish costume at times, and interest in art depicting the Ottoman Empire itself. Venice, the traditional trading partner of the Ottomans, was the earliest centre, with France becoming more prominent in the 18th century.   Chinoiserie is the catch-all term for the fashion for Chinese themes in decoration in Western Europe, beginning in the late 17th century and peaking in waves, especially Rococo Chinoiserie, ca. 1740–1770. From the Renaissance to the 18th century, Western designers attempted to imitate the technical sophistication of Chinese ceramics with only partial success. Early hints of Chinoiserie appeared in the 17th century in nations with active East India companies: England (the British East India Company), Denmark (the Danish East India Company), the Netherlands (the Dutch East India Company) and France (the French East India Company). Tin-glazed pottery made at Delft and other Dutch towns adopted genuine blue-and-white Ming decoration from the early 17th century. Early ceramic wares made at Meissen and other centers of true porcelain imitated Chinese shapes for dishes, vases and teawares (see Chinese export porcelain).   Pleasure pavilions in "Chinese taste" appeared in the formal parterres of late Baroque and Rococo German palaces, and in tile panels at Aranjuez near Madrid. Thomas Chippendale's mahogany tea tables and china cabinets, especially, were embellished with fretwork glazing and railings, ca 1753–70. Sober homages to early Xing scholars' furnishings were also naturalized, as the tang evolved into a mid-Georgian side table and squared slat-back armchairs that suited English gentlemen as well as Chinese scholars. Not every adaptation of Chinese design principles falls within mainstream "chinoiserie." Chinoiserie media included imitations of lacquer and painted tin (tôle) ware that imitated japanning, early painted wallpapers in sheets, and ceramic figurines and table ornaments. Small pagodas appeared on chimneypieces and full-sized ones in gardens. Kew has a magnificent garden pagoda designed by Sir William Chambers. The Wilhelma (1846) in Stuttgart is an example of Moorish Revival architecture. Leighton House, built for the artist Lord Leighton, has a conventional facade but elaborate Arab-style interiors, including original Islamic tiles and other elements as well as Victorian Orientalizing work.   After 1860, Japonisme, sparked by the importing of Japanese woodblock prints, became an important influence in the western arts. In particular, many modern French artists such as Monet and Degas were influenced by the Japanese style. Mary Cassatt, an American artist who worked in France, used elements of combined patterns, flat planes and shifting perspective of Japanese prints in her own images. The paintings of James McNeill Whistler and his "Peacock Room" demonstrated how he used aspects of Japanese tradition and are some of the finest works of the genre. California architects Greene and Greene were inspired by Japanese elements in their design of the Gamble House and other buildings.   In architecture, Egyptian revival architecture was popular mostly in the early and mid-19th century, and Indo-Saracenic Revival architecture or Moorish Revival architecture, covering a variety of general Islamic or Indian features, in the later part of the century; "Saracenic" referred to styles from Arabic-speaking areas. Both were sometimes used in the Orient itself by colonial governments. Depictions of Islamic "Moors" and "Turks" (imprecisely named Muslim groups of southern Europe, North Africa and West Asia) can be found in Medieval, Renaissance, and Baroque art. In Biblical scenes in Early Netherlandish painting, secondary figures, especially Romans, were given exotic costumes that distantly reflected the clothes of the Near East. The Three Magi in Nativity scenes were an especial focus for this. In general art with Biblical settings would not be considered as Orientalist except where contemporary or historicist Middle Eastern detail or settings is a feature of works, as with some paintings by Gentile Bellini and others, and a number of 19th century works. Renaissance Venice had a phase of particular interest in depictions of the Ottoman Empire in painting and prints. Gentile Bellini, who travelled to Constantinople and painted the Sultan, and Vittore Carpaccio were the leading painters. By then the depictions were more accurate, with men typically dressed all in white. The depiction of Oriental carpets in Renaissance painting sometimes draws from Orientalist interest, but more often just reflects the prestige these expensive objects had in the period.   The analogy made between the harem, the Sultan court, oriental despotism, luxury, gems and spices, carpets, and silk cushions was by all accounts, starting with Grosrichard's work, seen as a construct to serve as an analogy to France's own despotic monarchy. Jean-Étienne Liotard (1702–1789) visited Istanbul and painted numerous pastels of Turkish domestic scenes; he also continued to wear Turkish attire for much of the time when he was back in Europe. The ambitious Scottish 18th-century artist Gavin Hamilton found a solution to the problem of using modern dress, considered unheroic and inelegant, in history painting by using Middle Eastern settings with Europeans wearing local costume, as travellers were advised to do. His huge James Dawkins and Robert Wood Discovering the Ruins of Palmyra (1758, now Edinburgh) elevates tourism to the heroic, with the two travellers wearing what look very like togas. Many travellers had themselves painted in exotic Eastern dress on their return, including Lord Byron, as did many who had never left Europe, including Madame de Pompadour. Byron's poetry was highly influential in introducing Europe to the heady cocktail of Romanticism in exotic Oriental settings which was to dominate 19th century Oriental art. French Orientalist painting was transformed by Napoleon's ultimately unsuccessful invasion of Egypt and Syria in 1798–1801, which stimulated great public interest in Egyptology, and was also recorded in subsequent years by Napoleon's court painters, especially Baron Gros, although the Middle Eastern campaign was not one on which he accompanied the army. Two of his most successful paintings, Bonaparte Visiting the Plague Victims of Jaffa (1804) and Battle of Abukir (1806) focus on the Emperor, as he was by then, but include many Egyptian figures, as does the less effective Napoleon at the Battle of the Pyramids (1810). Girodet's La Révolte du Caire (1810) was another large and prominent example. A well-illustrated Description de l'Égypte was published by the French Government in twenty volumes between 1809 and 1828, concentrating on antiquities.   Eugène Delacroix's first great success, The Massacre at Chios (1824) was painted before he visited Greece or the East, and followed his friend Théodore Géricault's The Raft of the Medusa in showing a recent incident in distant parts that had aroused public opinion. Greece was still fighting for independence from the Ottomans, and was effectively as exotic as the more Near Eastern parts of the empire. Delacroix followed up with Greece on the Ruins of Missolonghi (1827), commemorating a siege of the previous year, and the Death of Sardanapalus, inspired by Lord Byron, which although set in antiquity has been credited with beginning the mixture of sex, violence, lassitude and exoticism which runs through much French Orientalist painting. In 1832 Delacroix finally visited what is now Algeria, recently conquered by the French, and Morocco, as part of a diplomatic mission to the Sultan of Morocco. He was greatly struck by what he saw, comparing the North African way of life to that of the Ancient Romans, and continued to paint subjects from his trip on his return to France. Like many later Orientalist painters, he was frustrated by the difficulty of sketching women, and many of his scenes featured Jews or warriors on horses. However he was apparently able to get into the women's' quarters or harem of a house to sketch what became The Women of Algiers; few later harem scenes had this claim to authenticity.   When Ingres, the director of the French Académie de peinture, painted a highly colored vision of a Turkish bath, he made his eroticized Orient publicly acceptable by his diffuse generalizing of the female forms (who might all have been the same model). More open sensuality was seen as acceptable in the exotic Orient. This imagery persisted in art into the early 20th century, as evidenced in Matisse's orientalist semi-nudes from his Nice period, and his use of Oriental costumes and patterns. Ingres' pupil Théodore Chassériau (1819–1856) had already achieved success with his nude The Toilette of Esther (1841, Louvre) and equestrian portrait of Ali-Ben-Hamet, Caliph of Constantine and Chief of the Haractas, Followed by his Escort (1846) before he first visited the East, but in later decades the steamship made travel much easier and increasing numbers of artists traveled to the Middle East and beyond, painting a wide range of Oriental scenes.   In many of these works, they portrayed the Orient as exotic, colorful and sensual, not to say stereotyped. Such works typically concentrated on Oriental Islamic, Hebraic, and other Semitic cultures, as those were the ones visited by artists as France became more engaged in North Africa. French artists such as Eugène Delacroix, Jean-Léon Gérôme and Jean Auguste Dominique Ingres painted many works depicting Islamic culture, often including lounging odalisques. They stressed both lassitude and visual spectacle. Other scenes, especially in genre painting, have been seen as either closely comparable to their equivalents set in modern-day or historical Europe, or as also reflecting an Orientalist mind-set in the Saidian sense of the term. Gérôme was the precursor, and often the master, of a number of French painters in the later part of the century whose works were often frankly salacious, frequently featuring scenes in harems, public baths and slave auctions (the last two also available with classical decor), and responsible, with others, for "the equation of Orientalism with the nude in pornographic mode";
  • Condition: Used
  • Condition: FANTASTIC PORTRAIT PAINTING! Please refer to description section for condition!
  • Artist: ATTR: Egisto Ferroni, Egisto Ferroni
  • Unit of Sale: Single-Piece Work
  • Size: Large
  • Date of Creation: 1800-1899
  • Item Length: 22 in
  • Region of Origin: Europe
  • Framing: Matted & Framed
  • Personalize: No
  • Size Type/Largest Dimension: Large (Greater than 30in.)
  • Listed By: Dealer or Reseller
  • Framed/Unframed: Framed
  • Year of Production: c1800's
  • Original/Licensed Reproduction: Original
  • Width (Inches): 22 1/2"
  • Item Height: 35 in
  • Painting Surface: Canvas
  • Style: Orientalist
  • Features: Framed, One of a Kind (OOAK)
  • Item Width: 6 in
  • Culture: Italian
  • Handmade: Yes
  • Time Period Produced: 1850-1899
  • Bundle Description: no
  • Signed: No
  • Color: Multi-Color
  • Period: Art Nouveau (1880-1920)
  • Material: Canvas, Oil
  • French Orientalist Painting: Antique c19th Century Original Oil On Canvas
  • Subject: Figures & Portraits, Portrait, Figures
  • Signed?: Unsigned
  • Type: Painting
  • COA Issued By: no
  • Height (Inches): 35 1/2"
  • Original/Reproduction: Original
  • Theme: Art, Portrait
  • Production Technique: Oil Painting
  • Country/Region of Manufacture: Italy

PicClick Insights - ATTR:Egisto Ferroni Orientalist Antique c19th Century Original Oil Canvas PicClick Exclusive

  •  Popularity - 5 watchers, 0.0 new watchers per day, 976 days for sale on eBay. Super high amount watching. 0 sold, 1 available.
  •  Best Price -
  •  Seller - 2,714+ items sold. 4.5% negative feedback. Good seller with good positive feedback and good amount of ratings.

People Also Loved PicClick Exclusive