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1850
Oil on canvas
73 × 41.9 cm (28.7 × 16.5 in)
London
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Francesco Hayez
Il bacio (The Kiss)
1859
Oil on canvas, 112 x 88 cm
Pinacoteca di Brera, Milano
View Larger John Quidor, The Headless Horseman Pursuing Ichabod Crane. 1858, oil, 26 7/8 x 33 7/8 in., Smithsonian American Art Museum.
- 14 days
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Francesco Hayez
La Meditazione [Meditation on the History of Italy]
Oil on canvas
1850
70 x 90 cm
(27.56” x 35.43”)
Private collection
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James Abbott McNeill Whistler
La Vielle aux loques
Etching
1858
14.7 x 20.8 cm
(5.79” x 8.19”)
Metropolitan Museum of Art (Manhattan, New York, United States)
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Francesco Hayez
Susanna al bagno
Oil on canvas
1850
120 x 135 cm
(3’ 11.24” x 4’ 5.15”)
Susanna o Shoshana (שׁוֹשַׁנָּה, Ebraico Šošanna, giglio)
Susanna, bella e pia ragazza, viene notata da due vecchi che frequentano la casa di suo marito mentre fa il bagno nel suo giardino. Costoro sono appena stati nominati giudici e, infiammati di lussuria, si fanno sotto con proposte infami, minacciando di accusarla presso il marito di averla sorpresa con un giovane amante se non si concede a loro. Al rifiuto di Susanna l’accusano pubblicamente di adulterio. Portata davanti al tribunale viene riconosciuta colpevole e condannata a morte mediante lapidazione, ma a questo punto si fa avanti Daniele.
La reputazione di Susanna viene restituita all’onore
View Larger La famiglia Bellelli è un dipinto ad olio su tela di cm 200 x 250 realizzato tra il 1858 ed il 1869 dal pittore francese Edgar Degas.
While finishing his artistic training in Italy, Degas drew and painted his aunt Laura, her husband the baron Gennaro Bellelli (1812–1864), and their daughters Giulia and Giovanna. Although it is not known for certain when or where Degas executed the painting, it is believed that he utilized studies done in Italy to complete the work after his return to Paris.Laura, his father’s sister, is depicted in a dress which symbolizes mourning for her father, who had recently died and appears in the framed portrait behind her. The baron was an Italian patriot exiled from Naples, living in Florence.
Laura Bellelli’s countenance is dignified and austere, her gesture connected with those of her daughters. Her husband, by contrast, appears to be separated from his family. His association with business and the outside world is implied by his position at his desk. Giulia holds a livelier pose than that of her sister Giovanna, whose restraint appears to underscore the familial tensions.