Mattia Jona, Master Drawings and Prints, Japanese Prints - Piazzetta Guastalla 5, 20122 Milan, Italy, tel (+39) 02 8053315

Giovanni Fattori, la fascinaia


GIOVANNI FATTORI (Livorno 1825 - Florence 1908) LA FASCINAIA, also known as LA BOSCAIOLA or SPIGOLATRICE
Zinc etching, signed in the plate Fattori Gio; Bonagura 128, Baboni-Malesci CLXI. An extremely fine impression, richly inked, with a strong plate-tone, showing with great evidence the scratches and traces of the wiping of the plate. Printed in black ink on ivory wove paper of medium thickness. With wide margins, in fine condition. To the platemark 350 x 214 mm, the entire sheet measuring 544 x 404 mm.
PROVENANCE: Mario Galli (his label on the back of the original frame) Florence.
Cristina Bonagura, Le acqueforti di Fattori della collezione Rosselli, catalogue of the exhibition at Palazzo Pitti, Florence 1976.
Andrea Baboni, Anna Allegranza Malesci, Giovanni Fattori. L’opera incisa, 2 vols., Edizioni Over, Milan 1983.

Giovanni Fattori, possibly the most important painter of the nineteenth century in Italy, received his first instruction in drawing from a lesser painter of his native town. In 1846 Fattori moved to Florence to attend the Academy. During the 1850s Fattori joined the innovative artists, called Macchiaioli, who met at the Caffè Michelangelo in Florence and were champions of a new technique and style to contrast the conventional academic language. During those years, he still produced works that could be attributed to the historical-romantic school but his interest in studying from life also extended to landscape painting and the military life of the day became the subject of his first experiments in painting using the macchia technique. In 1867, after the death of his first wife, Fattori frequently stayed in the Maremma region which became the ideal backdrop for his works. Fattori began etching in the early 1880s, when he was nearly sixty; quite soon he was able to appreciate the difference of expression he could achieve using this new medium. A real peintre-graveur, he continued with etching his artistic research on light and essential shapes in reality.


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