Angelo Morbelli - painter

Artist known for socially conscious themes

Morbelli, pictured in this self-portrait,
highlighted social issues in his work

Angelo Morbelli, a painter who won acclaim for his socially conscious genre scenes, was born on this day in 1853 in the Piedmont city of Alessandria.

Initially a painter of landscapes and historical scenes, he switched quite early in his career to contemporary subjects, many of which reflected his own social concerns. He had a particular interest in the lives of the elderly and the fate of the women who laboured in the region’s rice fields.

He was a proponent of the Divisionist style of painting that was founded in the 1880s by the French post-Impressionist Georges Seurat. In Divisionism, rather than physically blending paints to produce variations in colour, the painter constructed a picture from separate dots of paint that by their proximity would produce an optical interaction. Divisionists believed this technique achieved greater luminosity of colour.

Morbelli developed his painting as a student at the prestigious Brera Academy in Milan but his original ambitions had been in the field of music.

The son of a wealthy vineyard owner from Casale Monferrato, about 35km (22 miles) north of Alessandria, Morbelli had shown a remarkable aptitude for the flute but was forced by illness into a change of direction. At the age of seven, he contracted mastoiditis, a serious ear infection that caused him to suffer permanent hearing loss.

His parents instead encouraged him instead to study drawing, which quickly revealed a different talent, which would in time win him a scholarship granted by the Municipality of Alessandria to move to Milan and enrol at the Brera, where he studied under Giuseppe Bertini, Raffaele Casnedi and Luigi Riccardi, three renowned professors.

Morbelli's Giorni...ultimi, painted at the Pio Albergo
Trivulzio retirement home, is one of his greatest works

His early works were primarily landscapes and historical scenes. His 1880 work, La morte di Goethe - the Death of Goethe - was among the first he exhibited to bring him public attention. 

Around 1883, Morbelli shifted his focus to contemporary subjects. Notably, he depicted elderly residents of the Pio Albergo Trivulzio, a retirement home and hospital in Milan that was founded in the 18th century following a bequest from Tolomeo Trivulzio, a Milanese aristocrat. 

Morbelli’s series of paintings from the home included Giorni…ultimi (Last Days), which earned him a Gold Medal at the Exposition Universelle in Paris in 1889. 

Early in the 1880s he married Maria Pagani, a woman with whom he would share the rest of his life. They had four children, inspiring him to paint several works on motherhood. He often painted Maria with the children at their house in Milan and in the garden of their summer residence, Villa Maria, at Colma di Rosignano Monferrato, in the hills above Casale Monferrato.

He began to experiment with Divisionism in around 1890, at first painting landscapes close to the Villa Maria.

Morbelli's Per ottanta centesimi highlighted the
exploitation of female labour in the rice fields

In the mid-90s, his interest drawn towards another social issue, he began to visit the farms in the rice fields around Vercelli, north of Casale Monferrato. A collapse in the price of rice led to the harsh exploitation of workers, mainly women, who were made to toil long hours for low wages.

His painting Per ottanta centesimi (For Eighty Cents), which depicted groups of women, standing ankle deep in water, engaged in the back-breaking work of picking the rice, was awarded the Gold Medal at the 1897 International Exhibition in Dresden.  He used photography to inform some of his work, which attracted criticism from some other painters.

The year that opened the millennium was important for Morbelli, who at the 1900 Exposition Universelle in Paris received another Gold Medal - and the award of the Legion of Honor - for Giorno di festa (Day of Celebration), another painting set in the Pio Albergo Trivulzio.

Between 1902 and 1903, continuing to ponder old age and death, Morbelli set up a studio in the rooms of the hospice, where he created Il Natale dei resta (The Christmas of the Remainers), part of a cycle entitled Il poema della vecchiaia (The Poem of Old Age). The painting presented a stark image of five men sitting in a hall partly lit by the sun, among many rows of empty benches.

Morbelli’s work in the early part of the 20th century returned to painting landscapes, with work ranging from a view of Milan’s Duomo to a boat on Lake Garda. His 1913 painting Angolo di giardino (Corner of the Garden), which offered a glimpse of the family villa in Colma, was noted for the vibrant luminous depth he gave to the countryside beyond the villa’s garden.  Some of his last work was completed between 1914 and 1919 in the Usseglio valley, a mountainous area in the east of Piedmont, close to the border with France.

Between 1908 and 1903, Morbelli is said to have met Carlo Carrà and Umberto Boccioni, two important painters of the Italian Futurist movement. Divisionism was influential in the development of Futurism, whose proponents adopted some of its methods to help evoke the dynamism of the urban environment they sought to convey in their work

He was still active when, in 1919, he developed pneumonia, which led to his death in Milan on November 7, at the age of 66. 

The Cattedrale dei Santi Pietro e Marco was
consecrated in 1879, replacing an older church 

Travel tip:

The historic city of Alessandria, about 90km (56 miles) southeast of Turin, became part of French territory after the army of Napoleon defeated the Austrians at the Battle of Marengo in 1800 on fields to the east of the city. Alessandria has a Museum of the Battle of Marengo in Via della Barbotta in the district of Spinetta Marengo. The city was ruled by the Kingdom of Sardinia for many years and is notable for the Cittadella di Alessandria, a star-shaped fort and citadel built in the 18th century, which covers more than 180 acres on a site just across the Tanaro river and is one of the best preserved fortifications of its type.  It remained a military establishment until as recently as 2007 and now holds a permanent exhibition of about 1500 uniforms, weapons and memorabilia. The city's neoclassical Cattedrale dei Santi Pietro e Marco was built in between 1874 and 1879. Alessandria is also a rail hub for northern Italy. The railway station opened in 1850 to form part of the Turin to Genoa railway and now also has lines to many other towns and cities both in Piedmont and neighbouring Lombardy. 

Submerged fields in the rice-growing
area around the city of Vercelli

Travel tip:

Vercelli is best known as the centre of Italy’s rice production industry, with many of the surrounding fields in the vast Po plain submerged under water during the summer months. Rice has been cultivated in the area since the 15th century. One of Vercelli’s speciality dishes, panissa, is made from risotto rice and beans, with pork and red wine.  The city, which has around 46,500 inhabitants, is some 85km (53 miles) west of Milan and about 75km (46 miles) northeast of Turin. It is reckoned to be built on the site of one of the oldest settlements in Italy, dating back to 600BC, and was home to the world's first publicly-funded university, which was opened in 1228 but folded in 1372. Vercelli’s Basilica of Sant'Andrea is regarded as one of the most beautiful and best-preserved Romanesque buildings in Italy. The city also has an amphitheatre from the Roman period.

Also on this day:

1610: The death of Renaissance painter Caravaggio

1871: The birth of painter Giacamo Balla

1884: The birth of Cardinal Alberto di Jorio, Vatican banker

1914: The birth of cycling star and secret war hero Gino Bartali

1933: The birth of William Salice, inventor of the Kinder Egg

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Andrea Appiani - painter

The master of the fresco technique became court painter to Napoleon

Appiani fell into poverty at the end of 
his life despite his notable career

Neoclassical artist Andrea Appiani, who was chosen to paint for the Emperor Napoleon during the time in which he ruled Italy, died on this day in 1817 in Milan.

He is remembered for his fine portraits of some of the famous people of the period, including Napoleon, the Empress Joséphine, and the poet, Ugo Foscolo. He is also well regarded for his religious and classical frescoes.

Born in Milan in 1754, Appiani was intended for a career in medicine, to follow in his father’s footsteps, but he went into the private academy of the painter Carlo Maria Guidici instead, where he received instruction in drawing and copying from sculpture and paintings.

He then joined the class of the fresco painter Antonio de Giorgi at the Ambrosiana picture gallery in Milan and he spent time in the studio of Martin Knoller where he learnt more about painting in oils.

Appiani also studied anatomy at the Ospedale Maggiore in Milan with the sculptor Gaetano Monti and travelled to Rome, Parma, Bologna, Florence and Naples to further his studies.

He became interested in aesthetic issues, inspired by the classical poet Giuseppe Parini, who was the subject of two fine pencil portraits by him.

Appiani's magnificent portrait of
 Napoleon Bonaparte, painted in 1805

Appiani attended the Brera Academy of Fine Arts from 1776 where he learnt the technique of fresco painting. His frescoes depicting the four evangelists in the church of Santa Maria presso San Celso, in Milan, completed in 1795, are considered by art experts to be among his masterpieces.

He is also remembered for his frescoes in the Royal Villa - Villa Reale - of Milan and his frescoes honouring Napoleon in some of the rooms of the Royal Palace of Milan.

Appiani was created a pensioned artist to the Kingdom of Italy by Napoleon, but lost his allowance after the fall of the kingdom in 1814, and he later fell into poverty. He suffered a stroke and died at the age of 63 in the city of his birth.

He is sometimes referred to as Andrea Appiani the Elder, to distinguish him from his great nephew, Andrea Appiani, who was an historical painter in Rome.

Appiani’s portrait of the poet Foscolo, a revolutionary who supported Napoleon’s attempts to expel the Austrians from Italy, hangs in the Pinacoteca di Brera, his 1805 portrait of Napoleon is in the Kunsthistorisches Museum in Vienna, while that of the Empress Joséphine hangs at the Château de Malmaison, her former home in Paris and and Napoleon's last residence in France.

The Pinocoteca di Brera is also home to the self-portrait of Appiani shown here.

The Brera Academy of Fine Arts in Milan is
one of Italy's most prestigious art schools

Travel tip:

The Accademia di Belle Arti di Brera, sometimes shortened to Accademia di Brera, where Andrea Appiani studied, is now a state-run tertiary public academy of fine arts in Via Brera in Milan, in a building it shares with the Pinacoteca di Brera, Milan's main public museum for art. The academy was founded in 1776 by Maria Theresa of Austria and shared its premises with other cultural and scientific institutions. The main building, the Palazzo Brera, was built in about 1615 to designs by Francesco Maria Richini.  The Brera district is so named because in around the ninth century, for military purposes, it was turned into a ‘brayda’ – a Lombardic word meaning ‘an area cleared of trees’.  Today, it is one of Milan’s most fashionable neighbourhoods, its narrow streets lined with trendy bars and restaurants. As the traditional home of many artists and writers, the area has a Bohemian feel that has brought comparisons with Montmartre in Paris. 

The Villa Reale, which faces the Giardini Pubblici
of Porta Venezia, contains notable Appiani frescoes

Travel tip:

Milan’s Villa Reale, which at times has been known as the Villa Belgiojoso Bonaparte and the Villa Comunale,was built between 1790 and 1796 as the residence of Count Ludovico Barbiano di Belgiojoso, an Austrian diplomat and soldier who served the Habsburg monarchy in the second half of the 18th century. The mediaeval castle of Belgioioso, a town around 40km (25 miles) south of Milan in the province of Pavia, had been the seat of the Belgiojoso family for centuries. His villa, built in Neoclassical style and designed by Leopoldo Pollack, an Austrian-born architect, is on Via Palestro, facing the Giardini Pubblici of Porta Venezia, the eastern gate of the city.  In 1920 the villa became the property of the city of Milan and a year later became the home of the Galleria d'Arte Moderna. Adjoining the main building is the Padiglione d'Arte Contemporanea, an exhibition space for contemporary art, which was built in 1955 on the site of the former stables of the palace, destroyed by wartime bombing.  The villa’s English-style gardens were also laid out by Leopoldo Pollack.

Also on this day:

1830: The death of Francis I of the Two Sicilies

1931: The birth of film director Paolo Taviani

1936: The birth of actress Virna Lisi

1942: The birth of footballer Sandro Mazzola

1979: The birth of child actor Salvatore Cascio

1982: The birth of golfer Francesco Molinari

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Francesco Hayez - painter

Artist who pushed boundaries of sensuality

Francesco Hayez, as he appeared
in an 1820s self-portrait

The painter Francesco Hayez, regarded as the father of the Milanese Romanticism movement in the mid-19th century and an artist renowned for his depictions of historical events and for his political allegories, was born on this day in 1791 in Venice.

His father, a fisherman, was French in origin and married a girl from Murano called Chiara Torcello, although they were a relatively poor family and Francesco was largely brought up by his wife’s sister, who had the good fortune to marry Giovanni Binasco, a wealthy ship-owner who dealt in antiques and collected art.

It was Binasco who fostered in Hayez his love of painting and after initially beginning an apprenticeship as an art restorer became a pupil in the studio of the Venetian painter Francesco Maggiotto. He was admitted to the New Academy of Fine Arts in Venice in 1806.

Hayez moved to Rome in 1809 after winning a one-year scholarship at the Accademia di San Luca.  In the event, he stayed in Rome until 1814, then moved to Naples where he was commissioned by Joachim Murat, the  French military commander and statesman who was King of Naples under Napoleonic rule, to paint a major work. 

By the mid-1830s, Hayez had become interested in the growing Risorgimento movement, the proponents of which foresaw an Italy liberated from foreign control in which artistic expression could thrive. He moved to Milan, where he met like-minded painters and writers at the Salotto Maffei, the salon hosted by Clara Maffei, whose portrait Maffei's husband commissioned Hayez to paint. 

Hayez's 1867 painting, The destruction
of the Temple of Jerusalem

It was in Milan that he established himself at the centre of intellectual life, being held in such high regard that in 1850 he was appointed director of the Brera Academy, where he remained for the rest of his working life. His pupils included Alessandro Focosi, Angelo Pietrasanta and Francesco Valaperta.

Hayez’s output was substantial and varied throughout his career, from biblical themes to grand works depicting key contemporary political and social figures in settings from Italian history. 

He had a particular penchant for paintings involving semi-clothed Odalisques, a favorite topic of Romantic painters. These women were female attendants in Turkish harems under Ottoman rule but the term came to mean a concubine in western usage, and their depiction in historical works allowed artists the ability to paint scenes that otherwise would not be deemed acceptable in 19th century society.

Later, Hayez focussed more and more on allegorical themes, often with strong patriotic or political connotations.

The allegorical painting, Il bacio, is seen
by some as Hayez's finest work

It was during this phase that he produced one of his most famous works, and one that many of his contemporaries regarded as his best, Il bacio - The Kiss - painted in 1859.

Il bacio is notable first for the passion with which the male figure kisses the woman, one hand at the back of her head while the other caresses her face, a sensual echo of his much earlier work, L'ultimo bacio di Romeo e Giulietta - The Last Kiss of Romeo and Juliet - painted in 1823, in Romeo’s hand on Juliet’s lower back, pulling her closer to him, was seen as somewhat risqué at the time.

It was seen as having a political message, too. Painted at a time when Milan and much of northern Italy was under the control of the Austrian Empire and the Habsburgs, Il bacio was interpreted as showing a young Italian soldier kissing goodbye to his lover before going off to fight for Italy against the Austro-Hungarians. 

This was reinforced in a later version - Hayez is thought to have painted five versions in total - in which the red and green in the male figure’s costume, juxtaposed to a white shawl that has fallen on to some nearby steps, is seen to represent the Italian tricolore, and the blue and white of the woman’s clothing, next to the red of the man’s tights, is taken to represent the French flag, symbolising the alliance between Italy and France that ultimately brought about Italian unification.

Hayez was in demand also for his portraits, often commissioned by the nobility but also by his fellow artists and musicians. In the late stages of his career, he was known to have made use of photographs, sparing his subjects the need to pose for long periods. 

He died in Milan in 1892 at the age of 91.

A canal in Murano, flanked by the examples of
the island's characteristic coloured houses

Travel tip:

Murano, the home of Francesco Hayez’s mother, is a group of islands in the Venetian lagoon about a kilometre across the water from Venice’s northern shore. Like its neighbour, it has a network of canals. Historically a fishing port and a centre for salt production, nowadays it is famous for its multi-coloured houses and glass factories and attracts crowds of tourists, although this does not detract from its charm. The island is proud of its glass-making history, which can be studied at the Museo del Vetro, on Fondamenta Giustinian, but aggressive sales techniques and cheap imports masquerading as Murano glass have sullied its reputation in recent years.

Hotels in Murano by Booking.com

The Palazzo Brera is home to the Milan's
renowned Accademia di Belle Arti

Travel tip:

The Accademia di Belle Arti di Brera, sometimes shortened to Accademia di Brera, where Francesco Hayez was the director, is now a state-run tertiary public academy of fine arts in Via Brera in Milan, in a building it shares with the Pinacoteca di Brera, Milan's main public museum for art, which houses the original version of Il bacio. The academy was founded in 1776 by Maria Theresa of Austria and shared its premises with other cultural and scientific institutions, including an astronomical observatory, botanical garden, school of philosophy and law, laboratories for physics and chemistry, and a library. The main building, the Palazzo Brera, was built in about 1615 to designs by Francesco Maria Richini.

Find a hotel in Milan with Booking.com

More reading:

How Giovanni Mazzini inspired the Risorgimento movement

Baldassare Verazzi, the painter who captured the Five Days of Milan uprising

The 18th century master of frescoes who became court painter to Napoleon

Also on this day:

1482: The death of sculptor Luca della Robbia

1821: The birth of painter Roberto Bompiani

1918: The death of Nobel Prize-winning peace activist Ernesto Teodoro Moneta

1944: The birth of writer and politician Raffaele Lauro

1953: The founding of oil and gas company ENI

1966: The birth of footballer Andrea Silenzi

(Paintings: Hayez's Self-Portrait in a Group of Friends (1824), Museo Poldi Pezzoli, Milan; The Destruction of The Temple of Jerusalem (1867), Gallerie dell'Accademia, Venice; Il bacio (1859), Pinacoteca di Brera, Milan)

(Picture credits: Palazzo Brera by MarkusMark via Wikimedia Commons)

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Giuseppe Dossena - painter

Modern impressionist who funded his art with restoration projects

Dossena was in demand
for his restoration skills

The painter Emilio Giuseppe Dossena was born on this day in 1903 in the small town of Cavenago d’Adda, about 48km (30 miles) southeast of Milan, in Lombardy.

Known more often simply as Giuseppe Dossena, he showed a talent for sculpture during his early years but preferred painting and soon began to produce outstanding landscapes in a neo-impressionist style.

With a young family to support, however, he had to find ways to supplement his income and eventually found regular work restoring and decorating villas and castles for a string of rich or aristocratic clients. 

In the late 1960s and early 1970s, Dossena spent a number of years living in the United States, where he was employed as a restorer of priceless artworks owned by institutions ranging from the Metropolitan Museum of New York to the Playboy Club.

As a child, he grew up in difficult circumstances, not helped by the death of his father when he was only 12 years old, which meant he had to give up school along with the older of his two brothers and find a job that would help support his mother and the three other members of the family.

Eventually, however, he was able to focus on his art and attended the Brera Academy and the Scuola di Castello in Milan, where he was able to hone his talent. He became friends with other painters, including Renato Guttuso, Domenico Cantatore, Umberto Lilloni and Aligu Sassu.

Dossena's 1976 painting, Giorno di
Mercato, is an example of his work

He did not hide his political opinions, being unafraid to speak out against the rise of Fascism, but avoided the fate of some who did so and were arrested as a consequence.  In 1937, he married Cornelia Ginevra Zacchetti, with whom he would have six children, but lost his mother in the same year.

His growing family meant he had to take a job rather than hope to live on the proceeds of his easel work, which was largely confined to his spare time. Fortunately, he found a profitable outlet for his ability as a specialist in the restoration and decoration of villas and castles and painted frescoes for churches.

His clients from the world of industrial entrepreneurs included the Pirelli, Invernizzi and Borletti families, while he also took on projects for the aristocratic Cicogna and Castelbarco families. The conductor Arturo Toscanini employed him to decorate a villa and the castles of Parrano and Monte Giove in Umbria were both restored by Dossena.  

The Italian Embassy in Addis Ababa, capital of Ethiopia, commissioned work by him only for it to be destroyed in bombing raids in World War Two.

Meanwhile, he began to acquire a following for his own impressionist paintings and his first major exhibition, at the Galleria Gavioli in Milan in 1943, not only attracted critical acclaim but was lucrative, too, with every exhibit sold.

For the next 25 years, Dossena continued to combine his restoration projects with his easel work, exhibiting from time to time and opening a studio in Milan.

Dossena's 1980 painting,
Parco Sempione

He suffered a setback in 1968 when an explosion in a neighbouring premises caused a fire that spread to his studio, destroying it.  The event prompted him to reflect on his career, which at that point had become somewhat becalmed, and he took the bold decision, at the age of 65, to move to America.

It proved a successful venture. As well as taking a job with the Studio Berger in New York, for whom he restored works by Renoir, Rembrandt, Picasso and other masters, Dossena was inspired enough by his new surroundings for his career to enjoy a revival. His new work was subtly different, still with its roots in neo-impressionism but with simpler lines and it was a hit with the critics, culminating in a series of well-received exhibitions.

Dossena returned to Italy in 1976 but his later years were blighted by leukaemia, which in time caused him to stop painting.  Yet he remained artistically active, turning to poetry for an outlet. His work was published in numerous anthologies and won him several awards before he died in 1987 at the age of 83.

The medieval hilltop village of Parrano,
where Dossena helped restore the castle

Travel tip:

Parrano in Umbria, where Dossena worked on restoring the castle, is a good example of a medieval Umbrian village. Situated about 35km (22 miles) southwest of Perugia and about 50km (31 miles) northwest of Terni, Parrano has sections of its original walls and two well-preserved gates. The castle itself was advertised for sale this year with potential to be developed as a luxury hotel. Conversion work has already taken place to create 26 suites and a spa centre, while the estate that comes with the castle included four extra buildings in the heart of the village and 23 farmhouses in the surrounding countryside.

Lodi's central square, Piazza della Vittoria,
is one of the most beautiful in Italy

Travel tip:

Lodi is a city in Lombardy, to the south of Milan and on the right bank of the River Adda. The main square, Piazza della Vittoria, has been listed by the Touring Club of Italy as among the most beautiful squares in Italy with its porticoes on all four sides. Nearby Piazza Broletto has a 14th century marble baptismal font from Verona.The city retains a mostly Medieval layout, starting from the remains of the Visconti Castle, built by the ruling Visconti family alongside the city walls in 1370. The churches of San Francesco and Sant’Agnese are worth a look, as is the 13th century church of San Lorenzo.

Also on this day:

1813: The birth of forgotten opera composer Errico Petrella

1907: The birth of actor Amedeo Nazzari

1921: The birth of lawyer and football administrator Giuseppe Prisco

1936: The death of playwright and novelist Luigi Pirandello

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Giovanni Migliara – painter

19th century artist captured many beautiful views for posterity

Giuseppe Molteni's 1829 portrait of
Giovanni Migliara

Giovanni Migliara, who rose from working as a theatre set designer to becoming court painter to King Charles Albert of Sardinia, was born on this day in 1785 in Alessandria in Piedmont.

He was first apprenticed to the sculptor Giuseppe Maria Bonzanigo, but then went on to study at the Brera Academy.in Milan with Giocondo Albertolli.

He began working as a set designer with Teatro Carcano in Milan in 1804 and then moved to La Scala in 1805, where he served under the direction of Alessandro Sanquirico until 1809. His theatre work enabled him to acquire skills as a landscape artist and a creator of perspective.

Migliara had to stop working while he was suffering from a serious lung problem but from about 1810 he started painting miniatures and then moved on to watercolours and then oils on canvas, silk and ivory, drawing inspiration from Venetian painters.

In 1812 he exhibited four views of Milan at the Brera Academy, officially signalling his return to the world of art.

Migliara's Veduta di Piazza del Duomo in Milan is part
of the Fondazione Cariplo collection

Migliara specialised in painting views and romantic, historical subjects. Because of the high quality of his work he became a favourite of the aristocracy living in Milan at the time.

As his fame spread, he received commissions from the King Charles Albert, from Maria Cristina of Savoy, from Leopold II, Grand Duke of Tuscany, from Maria Louise, Duchess of Parma, from Archduke Rainer, Viceroy of Lombardy-Veneto and from the Prince of Metternich.

In 1822 he was named professor at the Brera Academy. Among his pupils were Giovanni Renica of Brescia, Luigi Bisi and Federico Moja.

Migliara took long trips to Tuscany, Piedmont, Lazio and Campania between 1825 and 1835, which gave him new subjects for his landscapes and interiors. 

After being presented with the Civil Order of Savoy, a type of knighthood, by Charles Albert, he was named painter to the crown in 1833.

Migliara died in Milan in 1837, having suffered a recurrence of his lung problems.  The funeral took place in the church of San Babila before his coffin was escorted to the cemetery by a military band and followed by more than 300 friends and colleagues.

Some of his paintings, including his 1928 Veduta di Piazza del Duomo in Milano, and his earlier Veduta del chiostro di Sant’Antonio a Padova, are among the Fondazione Cariplo collection at the Gallerie di Piazza Scala, located in the Palazzo Brentani and the Palazzo Anguissola, in Piazza della Scala in Milan.

Piazza del Duomo in Alessandria, the city in Piedmont
where Giovanni Migliara was born in 1785

Travel tip:

Alessandria, where Migliara was born, is a city in Piedmont, about 90km (56 miles) southeast of Turin. The Battle of Marengo was fought in 1800, when Migliara would have been 15, between French and Austrian forces on a battle field to the east of Alessandria. The French victory helped to consolidate Napoleon’s grip on power back in Paris. Alessandria has a Museum of the Battle of Marengo in Via della Barbotta in the district of Spinetta Marengo. Alessandria is also a rail hub for northern Italy. The railway station opened in 1850 to form part of the Turin to Genoa railway and now also has lines to Piacenza, Novara, Pavia, Cavallermaggiore, Ovada and San Giuseppe di Cairo.

The Palazzo di Brera in Milan, where Migliara was a
student and later a professor

Travel tip:

One of Migliara’s most famous paintings is a view of the Palazzo di Brera in Milan, which he executed in 1829 after he was named as a Professor at the Art Academy there. Palazzo di Brera was a Jesuit college from the 1570s to the 1770s. After that it became home to various cultural, scientific, and artistic institutions. Maria Theresa of Austria founded the Reale Accademia di Belle Arti there in 1776. The picture gallery, now the Pinacoteca di Brera, was opened in 1806. The Brera district is often recommended to visitors to Milan as an area where there are plenty of good restaurants.

Also on this day:

1704: The moment that inspired Edward Gibbon to write his epic history of Rome

1905: The birth of footballer Angelo Schiavio

1964: The birth of astronaut Roberto Vittori



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