Italian Painting in the Age of Unification reconstructs the artistic motivations and messaging of three artists—Tommaso Minardi, Francesco Hayez, and Gioacchino Toma—from three distinct regions in Italy prior to, during, and directly following political unification in 1861.
Each artist, working in Rome, Milan, and Naples, respectively, adopted the visual narratives particular to his region, using style to communicate aspects of his political, religious, or social context. By focusing on these three figures, this study will introduce readers outside of Italy to their diversity of practice, and provide a means for understanding their place within the larger field of international nineteenth-century art, albeit a place largely distinct from the better-known French tradition.
The book will be of interest to scholars working in art history, nationalism, Italian history, or Italian studies.
Table of Contents
1 Ottocento Painting and the Gap in Nineteenth-Century Art Historical Discourse 2 Three Portraits / Three Cities 3 Tommaso Minardi and the Roman Destiny 4 Francesco Hayez and the Rise of History Painting during the Risorgimento 5 Gioacchino Toma, Neapolitan Realism, and the Aftermath of Unification 6 The Regional/National Model
Laura L. Watts is Associate Professor of Art History at Daemen College, Amherst, New York.