File:Turkeys guardian (1871) - Francesco Paolo Michetti.png

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Captions

Captions

Francesco Paolo Michetti - Turkeys herder (1871) - Private collection

Summary

[edit]
Francesco Paolo Michetti: Turkeys herder  wikidata:Q110414986 reasonator:Q110414986
Artist
Francesco Paolo Michetti  (1851–1929)  wikidata:Q3081044 q:it:Francesco Paolo Michetti
 
Francesco Paolo Michetti
Alternative names
Francesco Paolo Michetti
Description Italian painter and photographer
Date of birth/death 4 August 1851 / 2 October 1851 Edit this at Wikidata 5 March 1929 Edit this at Wikidata
Location of birth/death Tocco da Casauria (Italy) Francavilla al Mare (Italy)
Work period 1866 Edit this at Wikidata–1914 Edit this at Wikidata
Work location
Italy
Authority file
artist QS:P170,Q3081044
image of artwork listed in title parameter on this page
Title
Italian:
Guardiana di tacchini

Turkeys herder
title QS:P1476,it:"Guardiana di tacchini"
label QS:Lit,"Guardiana di tacchini"
label QS:Len,"Turkeys herder"
Object type painting
object_type QS:P31,Q3305213
Description
Turkeys herder (1871), by Francesco Paolo Michetti
Date 1871
date QS:P571,+1871-00-00T00:00:00Z/9
Medium oil on canvas
medium QS:P186,Q296955;P186,Q12321255,P518,Q861259
Dimensions height: 54 cm (21.2 in); width: 79.5 cm (31.2 in)
dimensions QS:P2048,54U174728
dimensions QS:P2049,79.5U174728
Private collection
institution QS:P195,Q768717
Notes
Caption from the auctioneers website
"Thus, we have arrived at 1871. The year from which Michetti begins, that period of maturation and ascension which, we can say, never stopped. It is the period in which the characteristics of his art they are formed, albeit amidst hesitation and deviations, in a definitive way. The fact that very young, placed among multiple seductions, was affected only by barely perceptible influences, demonstrates that, alongside his innate, natural possibilities, he possessed, albeit in embryo , animated by the yearning for a style, from which he will never be abandoned, a vision of his own, overbearing and uncompromising. This vision was the face of his land, the primitive soul, and in the same deep time, of his people, from which from now on he will draw the creatures that will populate his paintings, in attitudes of life and death, of joy and pain. The sea and the hills and the mountains of Abruzzo will be the background of these creatures, without possibility on the other scene, and it will be the land of Abruzzo, landscape , people, traditions, customs, rites, all one thing with the art itself that expresses it, glorifies it at times. In Abruzzo, after all, Michetti has already at this time almost returned to seal the pact that nothing can ever break. He now feeds his spirit in the presence of the great mountains garlanded with glaucous olive trees and covered by the mantle of heaven. He drinks from the icy springs that spring from the supreme cliffs, carrying in the limpid vein the adolescence of the tortuous rivers that soundly turn towards the sea. From the plateaus dressed in tender grasses that look to the immense horizons, he sees the wide mouths and the procession of the sails that from the green Adriatic go back to the humble landings shaded by the oaks that the blackcap's nest fills with melodies [...]

There is serenity on the high mountain: the shepherds stand erect, looking at the sky with dreamy eyes: wide cheekbones, curly hair, coarse cloaks that descend, serious bagpipes that play: flocks descend by sheep tracks to the sea shores. Ancient legends speak; and remote customs take place in the villages and farmhouses, in the caves and in the open fields. God is above all and above all: sacred are the father and the mother, the hearth and the bread. The fire heals the wounds: the green snake twisted around the breasts makes milk for the brides: the stars, the stones, the herbs have miraculous virtues: the little ones wear around the neck, next to the sign of the Redeemer, goat skin scapulars with fat inside. wolf that gives them strength. The faithful son had returned to this land. And the beauty contained in it always appeared new to him and never ended for his song [...]

Meanwhile, luck and attention grew around him. Having made his first, if not lavish earnings, selling his pictures of animals, children and fresh greenery to Paolo and Beniamino Rotondo, he owes the contract, advantageous for those times, to these initial testimonies of his pictorial genius. which he always clings to in 1871, as I have mentioned elsewhere, with the French art dealer Reutlinger. It was the Apulian Giuseppe De Nittis, the introducer of Goupil, who approached Michetti with this great entrepreneur of beauty, not devoid of sensitivity and taste, leading him to visit the collection collected by his countrymen. And the very young Abruzzese, who four years earlier knew only the stretch of the current valley between his village and the hill of Chieti and the grassy roads of the flocks descending to the sea, also makes a first, fleeting run to Paris. It happens in summer that the fires of the Commune still smoke towards the scorching sky. And even if he flees quickly, hostile ever since to what can disturb or distract him from the dream in which he walks wrapped, as in an invisible cloud, he does not neglect the relations, quite limited, of course, with what had returned to being the dominating center of European art. In 1872, in fact, the Parisian Salon, for the 89th Fine Arts Exhibition of the Society of French Artists, already hosted two paintings by Michetti ".


from T. Sillani, Francesco Paolo Michetti, Milan - Rome 1932, pp. 49-51

Source/Photographer https://www.pandolfini.it/it/asta-0002-2/francesco-paolo-michetti.asp

Licensing

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This is a faithful photographic reproduction of a two-dimensional, public domain work of art. The work of art itself is in the public domain for the following reason:
Public domain

The author died in 1929, so this work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 80 years or fewer.

This work is in the public domain in the United States because it was published (or registered with the U.S. Copyright Office) before January 1, 1929.

This file has been identified as being free of known restrictions under copyright law, including all related and neighboring rights.
The official position taken by the Wikimedia Foundation is that "faithful reproductions of two-dimensional public domain works of art are public domain".
This photographic reproduction is therefore also considered to be in the public domain in the United States. In other jurisdictions, re-use of this content may be restricted; see Reuse of PD-Art photographs for details.

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