Federico Zandomeneghi (Italian, 1841-1917) Après le bain: femme nue s'essuyant 15 1/4 x 11 3/8in (38.8 x 29cm)
Lot 38
Federico Zandomeneghi
(Italian, 1841-1917)
Après le bain: femme nue s'essuyant 15 1/4 x 11 3/8in (38.8 x 29cm)
Sold for US$ 225,000 inc. premium

Lot Details
Federico Zandomeneghi (Italian, 1841-1917) Après le bain: femme nue s'essuyant 15 1/4 x 11 3/8in (38.8 x 29cm)
Federico Zandomeneghi (Italian, 1841-1917)
Après le bain: femme nue s'essuyant
signed and dated 'Zandomeneghi 95' (upper right)
pastel on paper mounted to artist's board
15 1/4 x 11 3/8in (38.8 x 29cm)

Footnotes

  • Provenance
    Durand-Ruel & Cie, Paris (no. 2908);
    Joshua Fidanque, New York;
    Bequeathed to Kay Stock, New York, circa 1995;
    Her estate to Mr. and Mrs. Everitt, Great Neck, New York, 1999;
    Thence by descent to the present owner.

    Literature
    Enrico Piceni, Federico Zandomeneghi, Milano, 1967, no. 52.
    Maria Grazia Piceni, Camilla Testi, Enrico Piceni, Zandomeneghi, Catalogo generale, Milano, 2006, no. 136, illustrated.

    Born in Venice into a family of sculptors, Zandomeneghi followed an artistic path of his own, choosing painting at the Accademia di Belle Arti in Venice and at the Accademia di Belle Arti di Brera of Milan. As a young student, he joined General Giuseppe Garibaldi, who was fighting for Italy's independence and unification. As Venice was under Austrian occupation, Zandomeneghi had to flee to safety, and in 1862 he moved to Florence, where he joined a group of young artists who called themselves Macchiaioli and who would be essential for his artistic development. Like their Barbizon colleagues, the Macchiaioli broke with tradition and took their easels outdoors, painting vivid landscapes en plein air.

    Zandomeneghi's early work is steeped in this technique, which he continued through the early 1870s. Encouraged by the art critic and close friend Diego Martelli, he traveled to the Paris Salon in 1874, a crucial trip that was to redefine his life and career. Zandó, as he was known to his friends, remained in Paris for the rest of his life and became a vocal member of the Impressionists, participating in four of their exhibitions, in 1879, 1880, 1881 and 1886.

    Working and exhibiting alongside Monet, Renoir, Degas, Pissarro, Berthe Morrisot, etc., Zandomeneghi remained true to his luminous Venetian style, often being critical of some Impressionists' innovations. While frequently compared with Renoir and Degas, he vehemently denied their influence: As to my technique, a vague term, the one I used was my own, I did not borrow it from anyone. (Maria Grazia Piceni, p. 64)

    His views of Paris and its inhabitants executed in a vividly colored and light-filled palette drew the attention of renowned art dealer Durand-Ruel. In 1894, he signed an exclusivity agreement with the dealer who insisted that the artist paint more female figures. His depictions of young women capture intimate moments in the lives of his subjects, be it at bath, at rest or viewed from behind, unaware of being observed.

    Under the patronage of Durand-Ruel, who showed his paintings in the United States, Zandomeneghi enjoyed considerable success until the end of his life in 1917.
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