Giuseppe De Nittis 🖌🖼🇬🇧

Giuseppe De Nittis was born in Barletta, in the region of Apulia – Italy on 25 February 1846 and spent most of his prolific artistic life in Paris, where he become part of the French impressionist movement, although maintaining a clear personal style of painting, Giuseppe De Nittis was part of the Italian impressionist movement, but he was so much more than just an impressionist. He may have been a man of the upper class, but he also had a very modern outlook on his art and what it could be. His works are highly sought-after today and you can see them at both museums dedicated to him in Italy and France.

Since the very beginning of his career De Nittis wanted to develop his own specific style of painting, distant from academic approaches and closer to the plain depiction of nature stemming from direct observation, rather than workshop study. During this initial time he paints primarily landscapes with limpid and clear light inspired by nature around Naples. This will be known as a new artistic movement inspired by realism and later as “macchiaioli” (from the Italian word for stain). The landscape below, Lungo l’Ofanto – Ofanto Riverside, is a later example of this style and depicts a riverside landscape around his native region in Italy. This painting is exhibited at the Metropolitan Gallery of Bari.

Once he moved to Paris these artistic ideas were very close to the ones of the group of painters that will become known as impressionists. Hence, De Nittis turned out to be integral part of the mouvement and started exhibiting at the Salon in the period between 1869 and 1874 where his paintings were received with great success. In 1878 he put on display twelve artpieces at the Exposition Universelle in Paris and was granted a Légion d’honneur. In that year he also spent a period in London where he produced impressionist landscapes such as Westmister Bridge, also using the pastel technique.

“Paris Avenue” is one of Giuseppe De Nittis’s most famous works. He was an Italian painter who came to France in 1864, where he became friends with Edgar Degas and Gustave Courbet. His style was influenced by the Impressionists like Édouard Manet and Claude Monet, but he also had a close relationship with Edgar Degas who helped him develop his ideas about color theory.

The painting is set in Paris during a sunny day at dusk; however, there is no sun visible in the sky or light shining down from above onto this street scene because it was painted before electric lighting became widespread throughout Europe; thus if you were looking up at these buildings from ground level (which would have been possible since they were built near higher ground), you would see only darkness due to lack of electricity. In addition to being one of my favorite paintings because I love French architecture so much! I also appreciate how well executed this piece is considering its age since many artists today make mistakes when painting something similar because they don’t understand how important proper technique can be when working with oil paints instead – but not Giuseppe De Nittis! He knew exactly what he wanted out of these colors which makes me very happy.

Giuseppe de Nittis was born in Barletta, a town on the east coast of Italy. He studied at the Academy of Fine Arts in Naples, where he gained recognition for his landscape paintings and portraits. In 1864, De Nittis travelled to Paris and befriended Edouard Manet who urged him to study Impressionism with them. In 1869 he left for London where he painted furniture and interiors as well as portraits while living there; during this period he also made two trips back to Naples where he took up painting again after five years away from it (1862-1867). In 1870 De Nittis went back to Italy but returned again later that year due to financial difficulties caused by moving around Europe so much – after all those years travelling between cities like London! The following year he moved permanently into Paris where his career continued until 1880 when he moved with his wife Eugenia (who unfortunately died several months later).

The art of the upper class was not really art. The aristocracy and the middle class did not have a taste for it, as they were more interested in etiquette than art. Art was considered an elitist activity, one that only those with money could afford to take part in or show off. This is why “art” has been used interchangeably with “fine arts” since ancient times (as opposed to “low arts,” which refers to any non-fine creation). People who didn’t have enough money or status could only show their love for painting through pictures of landscapes or portraits; this makes sense if you think about it—imagine if someone wanted you to buy them a painting but there weren’t any available! You’d still want something from them anyway because it’s important for people like us – artists – who make things happen every day by putting paint on canvas back then too!

The great Impressionist Exhibition of 1874, held in Paris and featuring works by Claude Monet, Georges Seurat and Paul Cézanne, was a major success. The exhibition was organized by Gustave Courbet and sponsored by the Société des Artistes Indépendants. De Nittis was one of the most important Italian painters at the time (he exhibited his work in two other exhibitions) but he had moved to France due to his health problems—he suffered from tuberculosis which eventually led to his death at age 34 in 1876. The Impressionist Exhibition of 1874 marked both an end point for French Impressionism as well as an important turning point towards post-Impressionism: it confirmed that these artists were not just followers of Monet or Lovis Corinth but rather innovators who would continue innovating even after their mentor’s death in 1891 (Courbet himself died three years later). It also showed audiences around Europe what could be accomplished through color painting without relying solely on realism; instead they used techniques like Divisionism which allowed them greater control over how they applied different colors on canvas using multiple brush strokes instead of just one.”

He died very young of a stroke, only at 38, in 1884, after which his wife left most of his own collection of paintings to his home town of Barletta where they are now gathered in the Pinacoteca De Nitis.