Fra’ Filippo Lippi - Renaissance painter

Mentor of Botticelli who led life of scandal

Filippo Lippi, a self-portrait within a
fresco in Spoleto's historic cathedral

The controversial 15th century painter Fra’ Filippo Lippi, who famously eloped with a nun who had agreed to pose for him at a Dominican monastery in Prato, died on or close to this day in 1469 in Spoleto, a city in Umbria then part of the Papal States.

He was aged 62 or 63. Because of the scandalous nature of his life, there was speculation after his death that he had been poisoned, possibly by relatives of Lucrezia Buti, the nun who fell for his charms and was the mother of two children by him.

Aside from his colourful private life, Lippi was an important figure in the development of painting.  Influenced himself by Masaccio and Fra’ Angelico, he developed a signature style of his own that was colourful and decorative and characterised by clarity of expression.  His own influence was seen in the works of his pupil Sandro Botticelli and his son, Filippino Lippi.

Born in Florence in 1406, the son of a butcher, Lippi was orphaned when he was two years old. Until he was eight, he lived with an aunt, who then placed him in a Carmelite convent. In 1420 he entered the community of friars at the Monastery of Santa Maria del Carmine in Florence, where he took religious vows at the age of 16. It was there that he first came across Masaccio, who was working there on some frescoes in the Brancacci chapel that would become some of the most revered works of the Renaissance.

He did not take to studying, often occupying his time drawing pictures, and was allowed to leave the monastery to pursue his interest in painting, although he was not released from his vows.

A scene from Lippi's fresco series in the 
cathedral in the Tuscan city of Prato

He began travelling around Italy, visiting Padua, Ancona and Naples. The art historian Giorgio Vasari claimed that Fra’ Lippi was captured by Barbary pirates during a boat trip and kept as a slave for 18 months, supposedly securing his release only after he drew a picture of his slave master on the wall, using a piece of coal, that was such an accurate likeness that it was assumed he had some miraculous powers.

By the time he returned to Florence, in the 1430s, his reputation as a painter was growing and he was commissioned by a number of prominent families, including the Medicis. At the same time, however, his private life became increasingly turbulent, and when his employers were not dealing with complaints about his behaviour and settling lawsuits, they were paying off the debts he ran up.  The Medici became so exasperated with his unreliability they are said to have kept him locked up at night until he completed various commissions.

He produced his best work after moving to Prato, where he painted frescoes in the choir of the city’s cathedral depicting the stories of St. John the Baptist and St. Stephen. The scene showing the ceremonial mourning over Stephen's corpse is believed to contain a self-portrait of the painter. One of his scenes from his fresco series, Scenes of the Life of the Virgin, in the cathedral in Spoleto, is also said to include a self-portrait.

Lucrezia Buti is thought to be depicted
 in Lippi's 1455 Madonna and Child

It was in Prato that the major scandal of his life occurred. He had been appointed chaplain of the monastery of Santa Margherita and it is said that Lippi asked the mother superior for a nun who could pose for him for a picture he was painting, either of the Madonna or Santa Margherita.

He was sent Lucrezia Buti, the daughter of a Florentine family who, like him, has been sent to a convent as a child.  Lippi was taken with her beauty and seduced her. Soon afterwards, while Lucrezia was taking part in a procession, Lippi effectively kidnapped her. They moved into his house in Prato. Their son, Filippino, was born in 1457, followed a few years later by Alessandra, their daughter.

Given that Filippo and Lucrezia had both taken vows, they were living in sin, which at the time was considered highly scandalous. Eventually, Pope Pius II agreed to dissolve their vows, although they never married.  Lippi frequently depicted Lucrezia in his paintings, including a celebrated Madonna and Child painted in around 1455 that influenced Botticelli’s depictions of the Madonna. The painting hangs in the Uffizi in Florence.

In 1467, accompanied by Filippino and his friend and fellow painter, Fra’ Diamante, Lippi left for Spoleto, where he had been commissioned to decorate the choir of the Duomo. They worked together on the Nativity, the Annunciation, the Death of Mary, and the Coronation. He died in 1469 before the work was complete. He was buried in the cathedral, where a monument to him, commissioned by Lorenzo the Magnificent, was designed by his son.

The Palazzo Pretorio is one of a 
several important buildings in Prato

Travel tip:

The city of Prato is just half an hour from Florence yet is almost Tuscany's forgotten gem.  It has a commercial heritage founded on the textile industry and its growth in the 19th century earned it the nickname the "Manchester of Tuscany". Prato is the home of the Datini archives, a significant collection of late medieval documents concerning economic and trade history, produced between 1363 and 1410, yet also has many artistic treasures, including frescoes by Lippi, Paolo Uccello and Agnolo Gaddi inside its Duomo and the external pulpit by Michelozzo and Donatello. The Palazzo Pretorio is a building of great beauty, situated in the pretty Piazza del Comune, and there are the ruins of the castle built for the medieval emperor and King of Sicily Frederick II.

Spoleto's beautiful cathedral, where
Fra' Filippo Lippi is buried

Travel tip:

Spoleto is an historic and beautiful Umbrian hill town, where the 12th century cathedral is one of a number of interesting buildings including, standing on a hilltop overlooking the town, the imposing 14th century fortress, La Rocca Albornoziana.  There is a Roman amphitheatre, close to Piazza Garibaldi, which dates back to the middle of the first century BC and the early days of the Roman empire.  Two marble busts unearthed nearby, thought to be of Rome’s first emperor, Augustus and his adoptive father, Julius Caesar, may have been part of the decoration of the wall of the stage, which was destroyed in the Middle Ages during the construction of the adjoining Sant’Agata monastery and church, which now houses an archaeological museum.  The town is the home of the Festival dei Due Mondi music festival.

Also on this day:

1221: The death of historian Salimbene di Adam

1562: The death of anatomist Gabriele di Falloppio

1963: The Vajont Dam disaster

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Giovanni Fattori - painter

Landscape artist who painted Risorgimento battle scenes 

A self-portrait of Giovanni
Fattori as a young man

The painter Giovanni Fattori, who campaigned to free Italy from Austrian domination and captured Risorgimento battle scenes on canvas, was born on this day in 1825 in Livorno.

Fattori became a leading member of a group of Tuscan painters known as the Macchiaioli, who have been described as the Italian equivalent of the French Impressionists but whose images were more sharply defined.  The group, largely comprising painters from a working class background, saw themselves more as a social movement who expressed themselves through art.

Born into a modest household in the Via della Coroncina in the centre of Livorno, the Tuscan port city, Fattori’s family hoped he would seek a qualification in commerce that would equip him to prosper in the city’s trade-based economy.

But his skill in sketching persuaded them instead to apprentice him in 1845 to Giuseppe Baldini, a local painter of religious themes.  The following year he moved to Florence to study under Giuseppe Bezzuoli and enrol at the Academy of Fine Arts in Florence.

It was while he was in Florence, in 1848, that he became politically active, joining the Partito d’Azione - the Action Party - a liberal-socialist group that campaigned against the Austrian occupation of northern Italy. He distributed leaflets and is said to have taken part in an uprising in his home city of Livorno.  

Fattori made a breakthrough with The Italian
Camp at the Battle of Magenta in 1859 

When he returned to a calmer life in Florence in the early 1850s, Fattori began to frequent the Caffè Michelangiolo, on Via Larga, which was a popular gathering place for Florentine artists to discuss politics and the latest ideas in art. A number of them visited Paris for the Exposition of 1855 and returned keen to pursue the then-unusual practice of painting outdoors, directly from nature. 

Fattori was influenced by meeting the Roman landscape painter Giovanni Costa and decided to join his colleagues in taking up painting landscapes as they really appeared, subject to variations in daylight, as well as scenes of contemporary life.  The Florentine group evolved as the Macchiaioli. 

In terms of his personal finances, Fattori’s important break came in 1859, when his depiction of The Italian Camp at the Battle of Magenta (Il campo italiano dopo la battaglia di Magenta) won him a competition organised by the government to produce a patriotic battle scene. It came with a large enough cash prize for him to be married for the first time, to Settimia Vannucci.

Sadly, they were together for only eight years before Settimia succumbed to tuberculosis. During most of that time, Fattori lived in Livorno and painted mainly scenes of rural life, before moving back to a larger studio in Florence after receiving a number of commissions to paint epic battle scenes from the struggle for Italian unification. Famous among these was the Storming of the Madonna della Scoperta, an episode of the Battle of San Martino (1859).

A detail from Fattori's Maremma Cowboys
driving the Herds (1893)

After his wife’s death, the 1880s saw Fattori painting scenes from rural life in the Maremma, the area in the southwest of Tuscany.  His canvas Maremma Cowboys driving the Herds, one of his most famous works, is on permanent display in the Fattori Gallery in Livorno.

Fattori regarded his battlefield compositions as his finest works, in contradiction to modern critics, who prefer what they regard as his more spontaneous works, such as The Rotunda of Palmieri (1866), Woman with an Umbrella (1866), and his landscapes of the Florentine countryside, then of the Roman countryside, between 1873 and 1880, including his landscapes of the Maremma. 

Fattori fell into poor circumstances after marrying for a second time in 1891. Unable to buy frames for his paintings, he was prevented from exhibiting his works at the exhibition in Dresden in 1896.  After his second wife died in 1903, he was married for the third time, in 1906, but as a painter became increasingly disillusioned.

He died in 1908 in Florence and is buried in the loggia next to the Sanctuary of Montenero in Livorno, along with other important figures from the city’s history.

Livorno's elegant Terrazza Mascagni is
an attraction of the Tuscan port

Travel tip:

Livorno is the second largest city in Tuscany after Florence, with a population of almost 160,000. Although it is a large commercial port with much related industry, it has many attractions, including an elegant sea front – the Terrazza Mascagni - an historic centre, the Venetian quarter with canals, and a tradition of serving excellent seafood.

A view of one of the hillier, greener parts of 
the Maremma region of southern Tuscany

Travel tip:

Maremma is a large coastal area in southern Tuscany known for the variety of its territory, from blue seas and long beaches, black rock, wooded hills and thermal baths to marshes and flat lands.  It has traces of Etruscan and Roman civilisations, as well as the towers and castles of the Middle Ages built by the Aldobrandeschi families and later the Medici.  For centuries, the area was a hotbed for malaria and the reclamation of land from the vast marshy areas begun by the Medici was completed only just after Second World War.

Also on this day:

1610: The birth of Francesco I d’Este, the military leader who built the Ducal Palace in Modena

1620: The birth of Baroque composer Isabella Leonarda

1925: The birth of best-selling author Andrea Camilleri, creator of Inspector Montalbano

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Ugo Nespolo - artist and designer

Painter and sculptor worked in theatre, advertising and literature

Nespolo's advertising poster for
Campari themed on the 1990 World Cup

The contemporary artist Ugo Nespolo, whose broad range of work includes paintings and sculpture, theatre sets and costumes, advertising posters, book layouts, commercial designs and experimental films, was born on this day in 1941 in the village of Mosso Santa Maria in the Biellese Prealps, about 70km (43 miles) northeast of Turin.

As well as an enormous output of artworks influenced by Pop Art, conceptual art and Arte Povera among others and numerous sculptures in glass and ceramic, Nespolo created unique set and costume designs for a number of major opera and theatre productions and was associated with several prestigious advertising campaigns, including for the drinks manufacturer Campari and the chocolatier Caffarel.

Nespolo is described as having an insatiable artistic and intellectual appetite and a belief that no artist should confine himself to a single medium. He is said to have inherited those characteristics from his father, whose restless nature compelled him frequently to change jobs and where he - and his family - lived.  His interest in art was probably nurtured by his father’s brother, himself a painter.

Nespolo graduated in modern literature after attending the University of Turin, where his studies included semiotics and art history. He also studied art at the Accademia delle Belle Arti in Turin.

He took a job in teaching at a secondary school but his ambitions lay well beyond the world of education.  In his spare time, he painted and in the early 1960s became part of Turin’s avant-garde movement.  He began to exhibit locally and realised his first important break when Arturo Schwartz, a Milan gallery owner, offered him a small contract and helped him to set up a show in New York.

Nespolo's painting Urbano, which
featured letters and numbers

At the same time, he also developed an interest in experimental cinema, directing his first movie, Grazie, mamma Kodak, in 1966.  He has returned to film regularly, conceiving, writing and directing about 20 movies over a 40-year period, his work featured by institutions such as the Centre Georges Pompidou in Paris, the Philadelphia Museum of Modern Art, and Warsaw's Filmoteka Polska. 

Nespolo visited the United States for the first time in 1967 and thereafter became an increasingly regular visitor, particularly in the 1980s.  He became an admirer and acquaintance of Andy Warhol, at the time a leading figure in the Pop Art genre.

During that time, Nespolo was also becoming an advocate of Arte Povera, the movement in Europe that rejected the traditional media in favour of using simple, everyday materials to convey artistic concepts. 

Nespolo’s standing grew exponentially in the 1970s, when he exhibited all over Europe as well as in North and South America and Japan. He was sought after to visualise advertising campaigns, create title designs for television and book layouts for publishing houses. He made sculptures in ceramic and designed furniture and carpets.

He opened a 4,000-square metre atelier in Turin in a three-storey former factory building, incorporating an exhibition space, a workshop and a 40-seat auditorium and an office, in which he installed a traditional American jukebox.

Ugo Nespolo, pictured at an
exhibition in 2017

The 1980s, during which he spent many months each year in the United States, saw his first venture into opera set and costume design at a production of Ferruccio Busoni’s Turandot at the Connecticut Grand Opera in Stamford. Subsequently, he would be engaged for productions of Giovanni Paisiello's Don Quixote at the Teatro dell'Opera di Roma and Gaetano Donizetti's L'elisir d'amore in Rome, Paris, Lausanne, Liège and Metz. He designed the stage and costumes for Giacomo Puccini's Madama Butterfly at the Festival Puccini 2007 in Torre del Lago.

Now in his 80th year, Nespolo remains an important figure in the art world and continues to receive invitations to collaborate on various projects.  One of the more recent ones was the unveiling of the latest of several watches he has helped design for the Swiss watchmaker Swatch, who hosted an exhibition of his work in Geneva to celebrate a long association with the company that developed from Nespolo’s fascination with numbers, a recurring theme in his work.

Biella's Roman baptistery dates back
to the early 1000s

Travel tip:

Ugo Nespolo’s home village of Mossa Santa Maria - now simply Mossa - is in the province of Biella, a town of almost 45,000 inhabitants in the foothill of the Alps, about 85km (53 miles) northeast of Turin and slightly more than 100m (62 miles) west of Milan. Its attractions include a Roman baptistery from the early 1000s and the church and convent of San Sebastian. Wool and textiles have been associated with the town since the 13th century and although the best years of the industry have now passed, with many mills and factories closed, in addition to Cerruti, brands such as Ermenegildo Zegna, Vitale Barberis Canonico and Fila still have a presence. 

Turin's Accademia Albertina has fostered
the study of art since the 17th century

Travel tip:

Turin’s Accademia Albertina di Belle Arti can be found in Via Accademia Albertina, which links the Via Po and Piazza Carlo Emanuele II in the centre of the Piemontese capital, in the university district close to the city’s landmark Mole Antonelliana, the enormous structure - at 167.5m (550ft) the tallest unreinforced brick building in the world - originally built as a synagogue. In 1678, the academy was formally founded as the Academy of Painters, Sculptors and Architects (Accademia dei Pittori, Scultori e Architetti) by Marie Jeanne of Savoy. It was re-established under the name Albertina in 1833 by Charles Albert of Sardinia.

Also on this day:

1875: The birth of flautist Leonardo De Lorenzo

1967: The birth of singer Tiziana ‘Tosca’ Donati

1991: The shooting of anti-Mafia businessman Libero Grassi

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Jacopo Carucci da Pontormo – artist

Painter’s expressive style was the start of Mannerism

Jacopo Pontormo's masterpiece, The
Deposition from the Cross

Painter Jacopo Carucci, often referred to simply as Pontormo, was born on this day in 1494 in Pontorme near Empoli in Tuscany.

Pontormo is considered to be the founder of the Mannerist style of painting in the later years of the Italian high renaissance, as he was capable of blending Michelangelo’s use of colour and monumental figures with the metallic rigidity of northern painters such as Albrecht Dürer. His work represents a distinct stylistic shift from the art typical of the Florentine Renaissance.

According to Giorgio Vasari in his book, The Lives of the Artists, Pontormo’s father was also a painter but he became an orphan at the age of ten. As a young art apprentice he moved around a lot, staying with Leonardo da Vinci, Mariotto Albertinelli, Piero di Cosimo and Andrea del Sarto.

Pope Leo X, passing through Florence in 1515 on a journey, commissioned the young Pontormo to fresco the Pope’s Chapel in the church of Santa Maria Novella.

Pontormo also participated in the decoration of the nuptial chamber of Pierfrancesco Borgherini with his Stories of Joseph, four paintings that are now in the National Gallery in London.

According to Vasari, the model for the boy seated on the step in one of the pictures was Pontormo’s young apprentice, Bronzino.

In 1522, when the plague broke out in Florence, Pontormo went to stay at a cloistered Carthusian monastery, the Certosa di Galluzzo, where he painted a series of frescoes on the passion and resurrection of Christ, but sadly these have been damaged over the years.

Pontormo’s surviving masterpiece is considered to be The Deposition from the Cross, a large altarpiece canvas in the church of Santa Felicità in Florence.

Pontormo's portrait, The Halberdier, was once
the most expensive painting in the world

In the last few years of his life, Pontormo worked on frescoes for the choir of the Basilica of San Lorenzo in Florence, but only the drawings for these have survived. The artist died, aged 62, in January 1557 before completing this work.

According to Vasari, Pontormo ‘was buried in the first cloister of the Church of the Servite friars under the scene he had previously painted there of the Visitation.’ This is the church of Santissima Annunziata in Piazza della Santissima Annunziata in Florence.

His body was moved in 1562 to the chapel devoted to artists and placed under the Trinity, which had been painted by his pupil, Bronzino.

Vasari portrays Pontormo as withdrawn, neurotic and miserly, but subsequent art historians have pointed out that the two were rivals for Medici commissions, which might have influenced Vasari’s judgment.

Pontormo’s work was out of fashion for centuries, but there has recently been renewed interest in him from art historians. Between 1989 and 2002, Pontormo’s portrait of The Halberdier held the title of the world’s most expensive painting by an Old Master.

The church of San Michele in Pontorme, Empoli, is just
a few steps from the house in which Pontormo was born

Travel tip:

The village of Pontorme, where Jacopo Carucci was born, is now a district of the town of Empoli, which can be found 20km (12 miles) southwest of Florence. Pontorme is essentially the network of streets around the church of San Michele Arcangelo. The house where Carucci spent his early years is now a museum in which visitors can see objects and artworks that include preparatory sketches for the altarpiece depicting Saints John the Evangelist and the Archangel Michael from the church of San Michele, a page from the painter’s diary and pieces of ceramic cookware uncovered during the building’s restoration.  The house is close to the church of San Michele in Via Pontorme, who can arrange visits.

The loggia facade of the Basilica della Santissima
Annunziata in Florence, where Carucci was buried

Travel tip:

The Basilica della Santissima Annunziata, where Carucci was buried, is a Renaissance-style basilica in Florence. Considered the mother church of the Servite Order, it is located at the northeastern side of the Piazza Santissima Annunziata near the city centre. The facade of the church is by the architect Giovanni Battista Caccini, added in 1601 to imitate the Renaissance-style loggia of Brunelleschi's facade of the Foundling Hospital, which defines the eastern side of the piazza. The building opposite the Foundling Hospital, designed by Sangallo the Elder, was also given a Brunelleschian facade in the 1520s.

Also on this day:

1671: The birth of Gian Gastone de’ Medici, the last Medici to rule Florence

1751: The birth of Charles Emmanuel IV, King of Sardinia

1981: The birth of celebrity chef Simone Rugiati


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Giovanni Battista Gaulli – artist

Baroque painter decorated leading Jesuit church in Rome

Baroque painter Giovanni Battista Gaulli,
a self-portrait  painted in about 1667

Painter Giovanni Battista Gaulli, whose nickname was Baciccio, was born on this day in 1639 in Genoa.

He became a leading baroque painter whose work was influenced by the sculptor and architect Gian Lorenzo Bernini. He is most remembered for his beautiful frescoes in the Church of Gesù in Rome, which are considered a masterpiece of quadratura, or architectural illusionism.

Gaulli was born in Genoa and his parents died when he was just a teenager in an outbreak of plague in the city.

He was apprenticed with the painter Luciano Borzone but would also have been influenced by some of the foreign artists who were working in Genoa in the mid 17th century.

Peter Paul Rubens and Anthony van Dyck were in Genoa at the time but it is also said that Gaulli adopted the warm palette of Genoese artist Bernardo Strozzi.

Gaulli was introduced to Bernini, who recognised his talent and helped to promote him. In 1662 he was accepted into the Roman artists’ guild, the Accademia di San Luca.

The following year Gaulli received his first public commission, for an altarpiece in the Church of San Rocco in Rome.

Gaulli's masterpiece, the Triumph of the
Name of Jesus, in the Church of the Gesù

At the height of his popularity, Gaulli was also one of Rome’s most prestigious portrait painters.

But a visit to Parma in 1669, where he saw Correggio’s frescoed dome ceiling in the cathedral of Parma, had a profound influence on his style.

With the support of Bernini, the 22-year-old Gaulli was awarded the prestigious commission of decorating the interior of the large Jesuit church in Rome, the Church of the Gesù.

Gaulli decorated the entire dome, central vault, window recesses, and the ceilings of the transepts. He unveiled the main vault fresco on Christmas Eve 1679 and after this he continued the frescoing of the vaults of the tribune and other areas of the church. The work took him nearly 14 years.

Gaulli’s nave masterpiece, the Triumph of the Name of Jesus, is an allegory of the work of the Jesuits that envelops worshippers below into the whirlwind of devotion. It is one of the grandest baroque ceilings in Rome and the theatrical effect prompted art experts to label Gaulli as ‘a Bernini in paint’.

A series of ceilings like this were painted in the naves of other Roman churches until the beginning of the 18th century. But as the high baroque movement evolved into the rococo, the popularity of this style dwindled.

Gaulli also moved in the new direction, adopting less intense colours and more delicate compositions.

He had many pupils during his long career, who spoke of him as ‘generous, liberal of mind and charitable’.

Gaulli died in 1709 in Rome, at the age of 70.

The facade of the Palazzo Ducale (Doge's Palace) in Genoa.
one of the maritime city's architectural highlights

Travel tip:

Genoa, where Gaulli was born, is the capital city of Liguria and the sixth largest city in Italy. It has earned the nickname of La Superba because of its proud history as a major port. Part of the old town was inscribed on the World Heritage List in 2006 because of the wealth of beautiful 16th century palaces there.   Genoa has a rich history as a powerful trading centre with considerable wealth built on its shipyards and steelworks, but also boasts many fine buildings, many of which have been restored to their original splendour.  The Doge's Palace, the 16th century Royal Palace and the Romanesque-Renaissance style San Lorenzo Cathedral are just three examples. 

The baroque facade of the Church of the Gesù,
which Michelangelo offered to design for free

Travel tip:

The Church of the Gesù, which was built between 1568 and 1584 was the first Jesuit church in Rome and its design has been much imitated throughout the Catholic world.  Located in the Piazza del Gesù, it has the first truly baroque façade, which introduced the style into architecture. Gaulli’s ceiling fresco is considered the most striking feature of the interior decoration.  Although Michelangelo offered, out of devotion, to design the church for free, the endeavor was funded by Cardinal Alessandro Farnese, grandson of Pope Paul III, and the main architects involved in the construction were Giacomo Barozzi da Vignola, architect of the Farnese family, and Giacomo della Porta.

Also on this day:

1587: The birth of Victor Amadeus I of Savoy

1898: Genoa become the first football champions of Italy

1960: The birth of AC Milan and Italy icon Franco Baresi


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Edoardo De Martino – painter

Naval officer who painted battle scenes was a favourite of British royal family

Edoardo De Martino, photographed at
work in around 1906

Edoardo Federico De Martino, an artist who became famous for his paintings of warships and naval battles, was born on this day in 1838 in Meta, just outside Sorrento.

At the height of his success, De Martino worked in London, where his paintings of ships and famous British naval victories were held in high regard by Queen Victoria.

He went on to work as a painter for Queen Victoria’s son, King Edward VII, and he often accompanied the King on naval tours.

De Martino was born in the small town of Meta, to the northeast of Sorrento, which had a long history of boat building.  He served as an officer in the Italian Navy but by the time he was 30 his main interest was painting.

He became associated with the School of Resina, a group of artists who painted landscapes and contemporary scenes that gathered in Resina, a seaside resort south of Naples, now incorporated into the towns of Herculaneum and Portici. Influenced by his fellow artists, De Martino eventually went to live and work in Naples.

He found fame after moving to London, where he painted scenes from the battles of Trafalgar, the Nile and Cape San Vincenzo.

A naval scene, thought to be depicting a battle in
1826, painted by De Martino in 1888

For his service as Marine painter in Ordinary to King Edward VII, De Martino was appointed an Honorary Commander of the Royal Victorian Order (CVO) in the 1902 Birthday Honours. He received the decoration from King Edward VII at Sandringham House on 9 November 1902.

From 1905 onwards, De Martino travelled widely, completing paintings of Italian naval ships and views of the Brazilian coast.  He died in Richmond-upon-Thames in London in 1912 at the age of 76.

In 2013, many of De Martino’s sketches and paintings were put on display in an exhibition organised by the Association of Commercianti del Casale di Meta.

The Basilica of Santa Maria del Lauro is one of the finest
churches on the Sorrentine peninsula

Travel tip:

Meta, where Edoardo De Martino was born, lies between Piano di Sorrento and Vico Equense on the main coastal road going from Sorrento in the direction of Naples. The town has a long history of boat building and by the time of his birth its shipyards were producing hundreds of boats, with the local women sewing the sails for them in the courtyards of their houses. Although steamships eventually replaced sailing boats, the shipyards continued to produce the Sorrentine Gozzo, a small sailing and rowing boat that enables the occupant to fish and row at the same time. Meta has a magnificent church, the Cathedral of Santa Maria del Lauro, in the centre of the town, just off the main road. The church was built in medieval times on the site of an ancient temple after a local deaf and dumb woman was said to have found a statue of the Virgin Mary under a laurel tree and then miraculously had her hearing and speech restored. It was rebuilt in the 16th century and restored and modified in the 18th and 19th centuries. The wooden door is from the 16th century building and the Chapel of the Madonna del Lauro has frescoes from the 18th century. Meta celebrates the Festa of Santa Maria del Lauro every year on 12 September.

The Castel Nuovo in Naples, with the port, one of the
largest in the Mediterranean, in the background

Travel tip:

Naples, the Italian city where Edoardo De Martino lived after becoming a full-time painter, has one of the largest ports in Italy and one of the largest on the Mediterranean, which would have been a constant source of inspiration to him. Nowadays the port has a huge capacity for cargo traffic and receives many cruise ships. There are also ferry services to the islands of Capri, Ischia and Procida out in the bay and regular services to Sicily, Sardinia, the Aeolian islands and Ponza.

Also on this day: 

1281: The birth of condottiero Castruccio Castracani

1825: The birth of compassionate priest Francesco Faà di Bruno

1888: The birth of aviation pioneer Enea Bossi

1939: The birth of actor Terence Hill 


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Corrado Cagli - painter

Jewish artist who fought in World War II as a US soldier

Corrado Cagli, pictured in his studio in Rome
in around 1969

The painter Corrado Cagli, one of the outstanding figures in the New Roman school that emerged in the early part of the 20th century, was born in Ancona on this day in 1910. 

He moved with his family to Rome in 1915 at the age of five and by the age of 17 had created his first significant work, a mural painted on a building in Via Sistina, the street that links Piazza Barberini with the Spanish Steps in the historic centre of the city.

The following year he painted another mural inside a palazzo on the Via del Vantaggio, not far from Piazza del Popolo.  In 1932, he held his first personal exhibition at Rome’s Galleria d’Arte Moderna.

At this stage, despite being both Jewish and gay, Cagli had the support of the Fascist government, who commissioned him and others to produce mosaics and murals for public buildings.

Although he would go on to experiment in neo-Cubist style and metaphysical styles, the aim of the Scuola Romana he sought to establish with fellow artists such as Giuseppe Capogrossi and Emanuele Cavalli was to reaffirm the principles of classical and Renaissance art.

However, in 1938, when the Fascist dictator Benito Mussolini stepped up his persecution of Jews and other minorities, Cagli sought refuge in Paris and later fled to New York.

A detail from Cagli's 1936 painting, The Battle of San Martino,
the final battle of the Second Italian War of Independence

Not knowing when or if he might return to Italy, Cagli became an American  citizen, even enlisting in the US Army. He went back to Europe as a soldier, taking part in the 1944 Normandy landings and seeing frontline combat fought in Belgium and Germany.

In fact, in an episode in his tour of duty that would have a profound effect on his life, he was part of a battalion that liberated Jewish prisoners from the Buchenwald concentration camp, near Weimar, in 1945. While he was there, Cagli made a series of dramatic drawings.

In 1948, Cagli finally returned to Rome to take up permanent residence again. At that time, he began to experiment in various abstract and non-figurative techniques, including metaphysical and neo-Cubist.

The recipient in 1946 of a Guggenheim award, in 1954 he was recognised with a Marzotto award, made by the Marzotto fashion company in Valdagno, in the Veneto between 1951 and 1968 to artists and thinkers who contributed to the cultural rebirth of Italy after the war.

In later life, he was the official banner painter for the Palio di Siena, the twice-yearly horse race around Siena’s Piazza del Campo, for which he had a particular fascination.

Corrado’s younger sister, Ebe, was a writer who also moved to the United States to escape Mussolini’s race laws.  She married an academic, Abraham Seidenberg, and did not return to Italy.

Cagli died in Rome in 1976.

Ancona's Cathedral of San Ciriaco, which occupies an
elevated position on the site of a former acropolis

Travel tip:

Ancona, where Cagli lived until he was five years old, is a bustling port with a population of almost 102,000, situated on the Adriatic coast in the Marche region. Although the area around the port has an industrial feel, there are some notable beaches nearby of which the Passetto is the best known.  There is a good deal of history in the older part of the city,  some of it bearing witness to its Greek and Roman past, as well as the Cathedral of San Ciriaco, which has mixed Romanesque-Byzantine and Gothic elements, and stands on a hill on the site of the former acropolis of the Greek city.  The 18m-high Arch of Trajan, built in honour of the emperor who built the city’s harbour, is regarded as one of the finest Roman monuments in the Marche region. The harbour contains the Lazzaretto, a pentagonal building constructed on an artificial island in the 18th century as a quarantine station designed to protect the city from diseases carried by infected travellers.

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Siena's beautiful Piazza del Campo, where the Palio di Siena
horse race is staged on tow dates every summer

Travel tip:

The shell-shaped Piazza del Campo, established in the 13th century as an open marketplace on a sloping site between the three communities that eventually merged to form Siena, is regarded as one of Europe's finest medieval squares, looked over by the Palazzo Pubblico and the Torre del Mangia.  The red brick paving, fanning out from the centre in nine sections, was put down in 1349.  The Palio, which features 10 horses, each representing one of Siena's 17 contrade, or wards, ridden bareback by riders wearing the colours of the contrada they represent, was first contested in 1656 and is now staged on July 2 and August 16 each year.

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More reading:

The Futurist painter who captured light, movement and speed

Painter whose early death robbed Italy of a great talent

The founder of the scuola metafisica movement

Also on this day:

1507: The death of Renaissance painter Gentile Bellini

1806: The birth of military general Manfredo Fanti

1821: The death of English Romantic poet John Keats

1822: The birth of archaeologist Giovanni Battista de Rossi

1834: The birth of Sicilian banker Emanuele Notarbartolo

(Painting: The Battle of San Martino (1936), Uffizi, Florence)

(Picture credit: Piazza del Campo by Ricardo André Frantz via Wikimedia Commons)

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Giovanni Battista Crespi – Baroque artist

Religious painter portrayed saints expressing human emotions

Crespi's painting, St Gregory delivers
the soul of a monk, in Varese

Painter, sculptor and architect Giovanni Battista Crespi was born on this day in 1573 in Romagnano Sesia in the Piedmont region of Italy.

His father was the painter Raffaele Crespi, who eventually moved his family to live in Cerano near Novara. When Giovanni Battista Crespi became one of the chief Lombardy artists of the early 17th century, he was often referred to as Il Cerano.

Reflecting the Counter Reformation pious mood of the time, many of his paintings focused on mysteries and mystical episodes in the lives of the saints, capturing their emotions.

Crespi spent some time in Rome, where he formed a friendship with the Milanese cardinal, Federico Borromeo, who became his patron. Together, they went to Milan, which was under the inspiration of the cardinal’s uncle, Charles Borromeo, and was a centre for the fervent spiritual revival in art.

Crespi formed a style that was Mannerist in its use of colour and in the mystical quality of his figures, although he also gave them realistic details.

Along with other artists, Crespi completed a series of paintings, Quadroni of St Charles, for the Duomo in Milan. He painted an altarpiece, the Baptism of St Augustine, for San Marco, Milan and a painting, Mass of St Gregory, for the Basilica of San Vittore in Varese. Also in San Vittore is his 1617 painting, St Gregory delivers the soul of a monk.

Crespi’s later paintings are impressive because of the human qualities of the figures he portrays while they are going through religious experiences, such as the Madonna of the Rosary in 1615, which is now in the Brera Museum in Milan.

In 1620, Crespi was appointed head of the Accademia Ambrosiana, which was founded by Cardinal Federico Borromeo. Among the artists he taught at the Accademia were Daniele Crespi, who was possibly one of his relatives, Carlo Francesco Nuvolone and Melchiorre Gherardini.

A respected academic as well as an artist, Crespi died in 1632 in Milan.

The Piazza Libertà, the main square in Romagnano Sesia,
where Giovanni Battista Crespi was born

Travel tip:

Romagnano Sesia, the birthplace of Giovanni Battista Crespi, is a town in the province of Novara, about 80km (50 miles) northeast of Turin and about 25km (16 miles) northwest of Novara. One of the famous sights there is the Cantina dei Santi (Saints' Cellar), a room that is the only remaining evidence of the ancient Benedictine monastery of San Silano. The cantina has frescoes depicting the Biblical story of David and King Saul dating back to the 15th century.

The entrance to the Biblioteca Ambrosiana, the historic
library in central Milan

Travel tip:

The Accademia Ambrosiana in Milan, where Giovanni Battista Crespi taught, was established in 1618 by Cardinal Federico Borromeo as a place where young Counter Reformation artists could study. He also founded the Pinacoteca Ambrosiana to inspire and support fine art students and the Biblioteca Ambrosiana, a library where they could go to read and research. You can visit the Pinacoteca and Biblioteca in Piazza Pio XI in Milan, which is close to the Duomo and Galleria Vittorio Emanuele II.

Also on this day:



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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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Filippo De Pisis - painter and poet

Artist known for extravagant lifestyle

A 1923 painting by Filippo De Pisis
entitled Still Life with a Bottle

The painter and poet Filippo De Pisis, whose works grace the Museum of Modern Art in New York, the Peggy Guggenheim Collection in Venice and the Palazzo Ruspoli in Rome among other galleries, was born Luigi Filippo Tibertelli De Pisis in Ferrara on this day in 1896.

A close associate for a while of Giorgio de Chirico and Carlo Carrà, De Pisis is best known for his cityscapes, metaphysically-inspired maritime scenes, and still life pictures, especially depicting flowers.  De Pisis, who was homosexual, also made many homoerotic sketches of the male nude. Later in life, he lived in Venice and became somewhat eccentric, travelling everywhere in his personal gondola.

Born into a noble family, as a boy he was known as Gigi. He was educated at home and was strongly influenced by his sister, Ernesta Tibertelli, who was a distinguished illustrator with libertarian views, and who probably introduced De Pisis to mystical writings.

De Pisis spent his childhood reading, drawing, collecting butterflies and wildflowers and writing poetry. He studied literature and philosophy at the University of Bologna, and published a volume of poems, Canti della Croara, in 1916. That same year, he met Carrà, De Chirico and his brother Alberto Savinio and and was attracted to metaphysical painting.

De Pisis spent 14 of his most productive years as
a painter living in Paris

In 1919, he moved to Rome, living in Via di Monserrato, near the Palazzo Farnese. He met more artists, including Armando Spadini, and began to paint in earnest. He still wrote, publishing a collection of essays, La città dalle 100 meraviglie - The City of 100 Wonders - in 1920.

He had been criticised for the overly-sentimentality of some of his poetry, yet his emotional nature worked in his favour in his painting, which received early acclaim.

Seeking new adventures and subjects, in 1925 he moved to Paris, which would be his base for the next 14 years, with only brief interruptions. He met and became friends with Édouard Manet, Camille Corot, Henri Matisse and members of the avant-garde fauve movement.

After holding a personal exhibition, presented by Carrà, in the Lidel room in Milan, he returned to Paris and began an intense relationship with the painter Onofrio Martinelli, who he had met in Rome. They shared a house-studio in the Rue Bonaparte in the Saint-Germain-des-Prés quarter.

He became part of a group of artists known as the Italians in Paris, which included De Chirico, Savinio, Massimo Campigli, Mario Tozzi, Renato Paresce and Severo Pozzati.  During his Parisian period he also visited London several times, forming friendships with the British painters Vanessa Bell and Duncan Grant.

De Pisis was probably best known for his cityscapes. This
one, painted in Venice in 1942, is Rio della Torricella 

De Pisis returned to Italy in 1939, anticipating the outbreak of the Second World War.  He settled in Vicenza for a few weeks before moving to Milan, taking up residence at the Hotel Vittoria in Via Durini.  He might have remained in Milan, but in 1943 his studio in Via Rugabella was destroyed in a bombing raid.

He moved again to Venice, where he was inspired by the paintings of Francesco Guardi and other Venetian masters of the 18th century, and began to live a rather extravagant lifestyle, travelling to and from his house on the Rio de San Sebastian canal in the Dorsoduro district by gondola. He maintained two gondoliers on 24-hour duty, who wore black-and-gold livery.

His health began to decline after the war and in 1948 he was treated in a clinic for neurological disorders in Bologna. From 1949 until his death in 1956 he lived mainly in a nursing home for sufferers from nervous diseases in Brugherio, a town north of Milan.  As well as the collections in New York, Venice and Rome, there are a large number of his paintings at the Museo Filippo De Pisis in his home city of Ferrara.

After moving to Venice permanently in 1943, De Pisis lived
in a house on Rio de San Sebastian in Dorsoduro

Travel tip:

Dorsoduro, where De Pisis lived after leaving Milan in 1943, is one of the six sestieri - municipal areas - of Venice, and sits between the Grand Canal and the Giudecca Canal.  It is regarded as a good place to get a feel for the more traditional Venice, without the huge crowds and tourist trappings associated with the areas around St Mark's and the Rialto.  There are many traditional bacari, the small bars that sell inexpensive small snacks - cicchetti - along with glasses of wine - known locally as ombre, as well as squares where local people meet during the day and students gather at night.  It is also home to some fine churches, such as San Sebastiano, close to Casa De Pisis, which is full of works by Veronese. Nearby are two of the city's most prestigious galleries, the Accademia and the Peggy Guggenheim.

The Villa Fiorita in Brugherio used to house the nursing
home where De Pisis was cared for in his later years

Travel tip:

The nursing home in which De Pisis spent the last few years of his life was housed in the Villa Fiorita, an historic aristocratic urban mansion in Brugherio that was built in 1721 for the Scotti family. After being bought and sold a number of times, it was given over for use as a nursing home in 1938. De Pisis spent much of his time in the mansion’s vast greenhouse, which is situated in its large landscape gardens, which he chose because of its optimal exposure to sunlight and relaxing parkland setting. The mansion now houses Brugherio’s municipal offices. The greenhouse has been renamed Serra De Pisis.



More reading:

Giorgio de Chirico, founder of the scuola metafisica movement

How Carlo Carrà captured violence and speed on canvas

Vittorio Miele, the artist of the metaphysical school who lost his family in World War II battle

Also on this day:

1715: The birth of opera composer Ignazio Fiorillo

1817: The birth of ballet star Fanny Cerrito

1932: The birth of fashion icon Valentino





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