BEZZUOLI, Giuseppe - b. 1784 Firenze, d. 1855 Firenze - WGA

BEZZUOLI, Giuseppe

(b. 1784 Firenze, d. 1855 Firenze)

Giuseppe Bezzuoli (or Bazzuoli), Italian painter and teacher. A leading exponent of academic Romanticism in Italy, he initially received drawing lessons from his friend Luigi Sabatelli. From 1786 he attended the Accademia delle Belle Arti in Florence, where he studied under Giuseppe Piattoli (c. 1743-1823), Jean-Baptiste Desmarais (1756-1813) and Pietro Benvenuti. In 1811 he was made the Accademia’s Aiuto Maestro di Disegno e Figura, and in 1812 he won the Concorso Triennale. In 1815-16 he made the first of several visits to Bologna, where he admired and studied its 17th-century painters. This marked the beginning of his romantic turn. Paolo and Francesca (1816; private collection), commissioned by the Conte Sante Alari of Milan, was the first Florentine work depicting a literary Romantic subject. Probably inspired by Sabatelli, it reflected a new Romantic ferment in the arts after the departure of the Bonapartes; two plays and a novel on the same theme were published around 1814-16. In 1816 Bezzuoli was made professor and became Sottomaestro di Disegno. He travelled to Rome and Naples in 1818-19 and to Venice in 1823. In Rome he encountered foreign artists, copied Raphael’s School of Athens (Rome, Vatican, Stanza della Segnatura) for Conte Paolo Tosi from Brescia, and drew from Michelangelo, the Bolognese masters, and from nature in the Roman Campagna.

One of his principal works is the Entry of Charles VIII into Florence (Palazzo Pitti, Florence). He decorated a small Tribune of Galileo at the Natural History Museum at Florence, and the more important series of scenes from the life of Caesar (1836) in one of the rooms on the ground floor of the Pitti Palace. Among his pupils were Giovanni Fattori, Enrico Pollastrini, and Silvestro Lega.

Entry of Charles VIII into Florence
Entry of Charles VIII into Florence by

Entry of Charles VIII into Florence

The painter’s most celebrated work shows the invasion of Florence in 1494 under Charles VIII of France. Commissioned by Leopoldo II, grand duke of Tuscany, it alludes also to the more recent French occupation under Napoleon.

In the centre of the scene, the King advances triumphantly astride his horse, greeted by a bow from the gonfalonier. In the foreground on the right, a group of important Florentines including Machiavelli, Pier Capponi and Savonarola plot the city’s revenge; on the left, worried citizens observe the scene. In the close foreground, a small still life summarizes the contrasting feelings surrounding the event: flowers and stones lie scattered on the ground in the King’s path.

The canvas confirmed Bezzuoli as one of the leading figures of historical Tuscan Romanticism, with a language inspired by the bright colours of the sixteenth-century Venetian painting as well as the lively expression of emotions more characteristic of seventeenth-century painting.

Marie Antoinette, Archduchess of Tuscany
Marie Antoinette, Archduchess of Tuscany by

Marie Antoinette, Archduchess of Tuscany

Marie Antoinette (1814-1898), the second wife of Grand Duke Leopoldo II of Tuscany, is depicted in her role as a sovereign, dressed in black velvet with a plume in her hair and seated on an ermine coat, a symbol of power. In the background, the belfry of the Palazzo Vecchio and the silhouette of the Duomo indicate the locale of her realm.

Venus Crossing the Sea on a Shell
Venus Crossing the Sea on a Shell by

Venus Crossing the Sea on a Shell

Venus, born of the sea, is depicted lying in an ample scallop shell, with a red blanket and white sheet, part of which acts as a sail, as she skims across the waves not far from the shore. Her provocative pose reflects that of the ancient marble Borghese Hermaphrodite (Paris, Mus�e du Louvre), a version of the Hellenistic composition much celebrated since its discovery in Rome in 1617-18.

Feedback