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Francesco Hayez
Portrait of Cristina di BelgiojosoTrivulzio
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Portrait of Cristina di Belgiojoso-Trivulzio (1832)
Private collection, Florence
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Francesco Hayez
Bathsheba Bathing
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Bathsheba Bathing (1834)
Private collection, Lugano
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Francesco Hayez
Ruth
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Ruth (1835)
Collezioni Comunali d'Arte, Bologna
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Francesco Hayez
The Seventh Crusade against Jerusalem
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The Seventh Crusade against Jerusalem (1838-1850)
Palazzo Reale, Turin
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Francesco Hayez
Odalisque Reclining
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Odalisque Reclining (1839)
Private collection, Milan
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Francesco Hayez
Release of Vittor Pisani from the dungeon
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Release of Vittor Pisani from the dungeon (1840)
Villa Carlotta, Tremezzo
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Francesco Hayez
Portrait of the princess of Sant Antimo
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Portrait of the princess of Sant' Antimo (1840-1844)
Museo di San Martino, Naples
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Francesco Hayez
Portrait of the Emperor Ferdinand I of Austria
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Portrait of the Emperor Ferdinand I of Austria (1840)
Museo del Risorgimento, Milan
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Francesco Hayez
Portrait of Alessandro Manzoni
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Portrait of Alessandro Manzoni (1841)
Pinacoteca di Brera, Milan
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Francesco Hayez
The Parting of the Two Foscari
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The Parting of the Two Foscari (1842)
Galleria d'Arte Moderna, Florence
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Francesco Hayez
Melancholy Thought
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Melancholy Thought (1842)
Private collection, Milan
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Francesco Hayez
Portrait of Felicina Caglio Perego di Cremnago
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Portrait of Felicina Caglio Perego di Cremnago (1842)
Private collection, Milan
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Francesco Hayez
Samson and the Lion
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Samson and the Lion (1842)
Galleria d'Arte Moderna, Florence
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Francesco Hayez
Meeting of Jacob and Esau
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Meeting of Jacob and Esau (1844)
Pinacoteca Tosio Martinengo, Brescia
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Francesco Hayez
Sicilian Vespers, Scene 3
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Sicilian Vespers, Scene 3 (1846)
Galleria Nazionale d'Arte Moderna, Rome
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Francesco Hayez
Portrait of Felicina Caglio Perego di Cremnago
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Portrait of Felicina Caglio Perego di Cremnago (1842)
Private collection, Milan
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Francesco Hayez
Portrait of Antonietta Tarsis Basilico
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Portrait of Antonietta Tarsis Basilico (1851)
Private collection, Rome
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Francesco Hayez
Portrait of Matilde Juva Branca
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Portrait of Matilde Juva-Branca (1851)
Civica Galleria d'Arte Moderna, Milan
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Francesco Hayez
Portrait of a Veneitan Woman
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Portrait of a Veneitan Woman (c. 1852)
Private collection, Milan
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Francesco Hayez
Venetian Women
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Venetian Women (1853)
Villa Carlotta, Tremezzo
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Francesco Hayez
Portrait of Countess Antonietta Negroni Prati Morosini as a child
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Portrait of Countess Antonietta Negroni Prati Morosini as a child (1858)
Civica Galleria d'Arte Moderna, Milan
(See also the portrait of her done in 1872)
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Francesco Hayez
Bather viewed from behind
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Bather viewed from behind (1859)
Pinacoteca di Brera, Milan
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Francesco Hayez
Female Nude
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Female Nude (c. 1859)
Pinacoteca di Brera, Milan
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Francesco Hayez
Portrait of Count Baglioni
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Portrait of Count Baglioni (c. 1860)
Private collection, Treviso
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Francesco Hayez
Portrait of Massimo d Azeglio
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Portrait of Massimo d' Azeglio (1860)
Pinacoteca di Brera, Milan
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Francesco Hayez
Self portrait at age 69
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Self-portrait at age 69 (1860)
Galleria degli Uffizi, Florence
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Francesco Hayez
Portrait of Camillo Benso di Cavour
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Portrait of Camillo Benso di Cavour (1864)
Pinacoteca di Brera, Milan
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Francesco Hayez
The New Favorite
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The New Favorite (Harem Scene) (1866)
Private collection, Milan
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Francesco Hayez
Odalisque with Book
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Odalisque with Book (1866)
Villa Carlotta, Tremezzo
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Francesco Hayez
The Death of the Doge Marin Faliero
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The Death of the Doge Marin Faliero (1867)
Pinacoteca di Brera, Milan
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Francesco Hayez
1791-1882
Italian
Francesco Hayez Galleries
Hayez came from a relatively poor family from Venice. His father was of French origin while his mother, Chiara Torcella, was from Murano. The child Francesco, youngest of five sons, was brought up by his mother sister, who had married Giovanni Binasco, a well-off shipowner and collector of art. From childhood he showed a predisposition for drawing, so his uncle apprenticed him to an art restorer. Later he became a student of the painter Francisco Magiotto with whom he continued his studies for three years. He was admitted to the painting course of the New Academy of Fine Arts in 1806, where he studied under Teodoro Matteini. In 1809 he won a competition from the Academy of Venice for one year of study at the Accademia di San Luca in Rome. He remained in Rome until 1814, then moved to Naples where he was commissioned by Joachim Murat to paint a major work depicting Ulysses at the court of Alcinous. In the mid 1830s he attended the Salotto Maffei salon in Milan, hosted by Clara Maffei (whose portrait Hayez painted for her husband), and he was still in Milan in 1850 when he was appointed director of the Academy of Brera there.
Assessment of the career of Hayez is complicated by the fact that he often did not sign or date his works. Often the date indicated from the evidence is that at which the work was acquired or sold, not of its creation. Moreover he often painted the same compositions several times with minimal variations, or even with no variation. His early works show the influence of Ingres and the Nazarene movement. His later work participates in the Classical revival.
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