{"id":12041,"date":"2024-11-12T18:15:57","date_gmt":"2024-11-12T18:15:57","guid":{"rendered":"https:\/\/pinacotecabrera.org\/news\/mostra\/settimo-dialogo-attorno-a-ingres-e-hayez-sguardi-diversi-sulle-donne-di-meta-ottocento\/"},"modified":"2024-11-24T11:24:23","modified_gmt":"2024-11-24T11:24:23","slug":"seventh-dialogue-on-ingres-and-hayez-a-different-look-at-mid-19th-century-women","status":"publish","type":"mostra","link":"https:\/\/pinacotecabrera.org\/en\/news\/mostra\/seventh-dialogue-on-ingres-and-hayez-a-different-look-at-mid-19th-century-women\/","title":{"rendered":"Seventh dialogue \u201cOn Ingres and Hayez. A different look at mid-19th century women\u201d"},"content":{"rendered":"\n
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\n Exhibition<\/span>\n

Seventh dialogue \u201cOn Ingres and Hayez. A different look at mid-19th century women\u201d<\/h1>\n October 4, 2018 to January 20, 2019<\/span>\n <\/span>\n <\/div>\n <\/div>\n<\/section>\n<\/div>\n\n\n\n
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The stars of the seventh dialogue are a masterpiece from the Pinacoteca’s own collections entitled Portrait of Teresa Manzoni Stampa Borri<\/em> by Francesco Hayez and three important guest works rarely shown in public, all of which illustrate different approaches to the interpretation of naturalism.<\/h4>\n\n\n\n

The seventh dialogue, entitled \u201cOn Ingres and Hayez. A different look at mid-19th century women\u201d, showcases a masterpiece from the Pinacoteca’s own collection, Francesco Hayez’s Portrait of Teresa Manzoni Stampa Borri<\/em>, interacting with three important guest works: Jean-Auguste-Dominique Ingres’s Portrait of Madame Gonse<\/em> from the Mus\u00e8e Ingres in Montauban, Francesco Hayez’s Portrait of Selene Taccioli Ruga<\/em> and a plaster bust by Lorenzo Bartolini portraying Anna Maria Virginia Buoni Bartolini, the two latter works both from private collections.<\/p>\n<\/div>\n\n\n\n

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\"Francesco
A sinistra, Francesco Hayez, Ritratto di Teresa Manzoni Stampa Borri<\/em>, 1847-1849, olio su tela (Pinacoteca di Brera).
A destra, Jean-Auguste-Dominique Ingres, Ritratto di madame Gonse<\/em>, 1852, olio su tela (Mus\u00e9e Ingres, Montauban).<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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\"Francesco
A sinistra, Francesco Hayez, Ritratto di Selene Taccioli Ruga<\/em>, 1852.
A destra, Lorenzo Bartolini, Ritratto di Anna Maria Virginia Buoni<\/em>, 1835 circa.<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Other paintings in these rooms partaking of the same reflection on the female figure in the middle of the 19th century are Hayez’s Portrait of Teresa Manzoni Stampa Borri<\/em>, The Odalisque<\/em> and Melancholy<\/em>, all of them celebrated icons of Lombard Romanticism that point to the artist’s study of the works of Raphael and Titian.
And lastly, again from the Pinacoteca di Brera’s own collection, the new layout showcases Giuseppe Molteni’s Portrait of the Singer Giuditta Pasta <\/em>and Mother Mourning the Death of Her Child<\/em>, both of them outstanding examples of that Milanese painter’s “worldly” manner which were admired, or criticised, from the moment they joined the Brera collection in the 19th century for being so diametrically opposed to Hayez’s work.
The prestigious loans for this dialogue, while rarely displayed in public, are all outstanding examples of the work of leading 19th century artists and of their different takes on naturalism.<\/p>\n<\/div>\n\n\n\n

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