Giuseppe de Nittis, account

under construction

Giuseppe de Nittis (1846-1884)

Account

of his exhibited works

 

 

Introduction:
On this page you will find an account of the works that Joseph de Nittis has exhibited at the 1st ‘impressionist’ exposition in 1974 and at the Salon. For general info on Giuseppe de Nittis and the used sources see the main page. For the pictures -/- see.

 

The first ‘impressionist’ exposition 1874:

  • catalogue numbers 115-118bis
  • no. 118 consisted of 2 or more studies of women
  • so in total Joseph de Nittis exhibited at least 6 works, all oil paintings
    • 4x indication of place
    • 1x indication of time, season or weather
    • 2x a study
    • 0x loans (appartient à…).
  • See for the suggestions of Moffett (R2,p122) and of Dayez / Adhémar (R87,p247) and Berson (R90II,p11).
  • Moffett refers to: Piceni, Enrico: De Nittis, L’uomo e l’opera. Busto Arsizio: Bramante, 1979 (R2,p503).

Reviews:
Burty (1874/04/25) ‘The more moderate and no less valiant works of Messrs. Colin, Rouart, Boudin, Lépine, Ottin fils or de Nittis, the watercolours of Mr. Lepic, show how much is to be expected from this school. (R87,p262)
Ernest Chesnau (1874/05/07) reviewed: ‘To have invited to participate in this exhibition certain painters who are at the extreme end of the latest banalities of the official Salons, and even artists of undeniable talent, but acting in ways that differ from their own, such as the misters de Nittis, Boudin, Bracquemond, Brandon, Lépine, Gustave Colin, this is a major error of both logic and tactics.’ (R87,p268/9)

1874 catalogue: (R2,p122;R90I,p7;iR1;R87,p247)

1IE-1874-115, Paysage près de Blois
Adhémar, Moffett and Berson don’t give a suggestion. Blois lies about 183km south of Paris, see map. Berson refers to the review in Le Père Siffleur (R90II,p11), who just mentions the tittle, miswriting de Nittis as ‘de Nillis’ (R90I,p38).
A very uncertain suggestion: 18xx, Poplars at the old house, 19×10, A2014/11/24 (iR11).

1IE-1874-116, Lever de lune, Vésuve
Adhémar, Moffett and Berson don’t give a suggestion. Berson refers to reviews of Lepelletier and de Lora, that can refer to no.116/117 and/or 118bis (R90II,p11), who both just write about ‘views of Italy’ in a partly identical review (R90I,p24+27).
Very uncertain suggestions are: 18xx, The bay of Napels (The Sea near Naples), xx, xx, (iR2); 1872-73, View of Mount Vesuvius (Veduta del Vesuvio), 18×32, A2011/06/14 (iR11); 1872, Mountainous site, Italy (Torre Annunziata), 19×31, private (R84,p123).

1IE-1874-117, Campagne du Vésuve
Perhaps Campagne du Vésuve, private collection (R87). According to Moffett: for no. 117 or 118bis: perhaps Piceni 19, private collection in Milan (R2). Adhémar suggests Campagne du Vésuve in a private collection (R87,p247). Berson remarks un this suggestion that it is ‘one of de Nittis’s many versions of this subject’ and leaves the work unidentified (R90II,p11). Berson refers to reviews of Lepelletier and de Lora, that can refer to no.116/117 and/or 118bis (R90II,p11), who both just write about ‘views of Italy’ in a partly identical review (R90I,p24+27).
Uncertain suggestions are: 18xx, Campagna vesuviana, 18×32, private, (iR2); 1873 (HW), Return from Mount Vesuvius (Ritorno dal Vesuvio), 19×32, A2009/06/09 (iR11).

1IE-1874-118, études de femme
Adhémar, Moffett and Berson don’t give a suggestion. Berson leaves out this work, which means there were no reviews (R90II,p11). Note: this catalogue number consisted of 2 or more studies of women.
Suggestions are: 18xx, portrait of a young woman (testa di donna con frangetta), 61×46, A2001/06/06 (iR11); 18xx, testa femminile di profilo, con cappellino, 55×46, A2016/04/25 (iR11); 18xx, blond woman’s head (testa di donna bionda), xx, A20020527 (iR11); 18xx, Leontine (study?), 41×27, A2010/11/16 (iR11).

1IE-1874-118bis, Route en Italie
Perhaps: route en Italie, private collection (R87). According to Moffett: for no. 117 or 118bis: perhaps Piceni 19, private collection in Milan (R2). Adhémar suggests Route en Italie in a private collection (R87,p247). Berson makes clear that these suggestions are the same, the Italian name being ‘Strada in Italia’, but she leaves this work unidentified (R90II,p11). Berson refers to reviews of Lepelletier and de Lora, that can refer to no.116/117 and/or 118bis (R90II,p11), who both just write about ‘views of Italy’ in a partly identical review (R90I,p24+27).
Very uncertain options are: 1867, La traversée des Apennins (la traversata degli Appennini), 41×76, MGNC Napels (iR6;iR41); 1870, Lungo l’Ofanto (along the Ofanto, xx, private, (iR2); 1872, The road from Brindisi to Barletta (la strada da brindis a barletta), xx, Indianapolis MA (iR6;iR2); 1872, La route de Naples à Brindisi, 9×18, A2016/10/18 (iR11). 

 

 

Joseph(-Gaetan) de Nittis at the Salon:
The Salon database indicates that Joseph de Nittis was born in Barletta (Italie). Still in the catalogue of the Salon of 1869 it is indicated that he was born in Naples. In 1884 he is called Joseph-Gaetan de Nittis. He was a pupil of Gérôme. In 1879+1884 he exhibited hors concours.

 

S1869-1810, Une visite chez l’antiquaire
Compare: 1870, Japanese Ladies admiring a screen, xx, private, (iR2).

S1869-1811, Une forêt de la Pouille (Italie) .
Eng.: A forest in Apulia. Apulia is a region in the south of Italy, see map. A very uncertain option: 18xx, Wood felling in the Forest (Nella Foresta), xx, A2004/06/15 (iR11;iR2).

S1870-2101, La femme aux perroquets
Additional info: (Appartient à M. Hoschedé). Probably: 1869ca, Lady with Parrots, xx, private, (iR2).

S1870-2102, Une réception intime
Eng.: A private reception. An uncertain suggestion: 1870, The Return From the Dance (Il Ritorno Dal Ballo), 31×24, private, (iR2).

S1870-3861, Arabe; dessin
S1870-3862, Arabe; dessin
Compare: 1869, Bob, wc, 25×21, AI Chicago, (iR2)

S1872-1177, Route de Naples à Brindisi (Italie)
Probably: 1872, The road from Brindisi to Barletta, xx, Indianapolis MA (iR6;iR2).

S1873-1114, Les cratères du Vésuve avant l’éruption de 1872
Eng.: The craters of Vesuvius before the eruption of 1872. Maybe: 1872, Vesuvius eruption of 1872, 76×128, A2014/12/09 (or PZ Napels) (iR6;iR2;iR11).

S1873-1115, La descente du Vésuve .
Eng.: Descending Mount Vesuvius. Two options: 1872, Vesuvius eruption of 1872, the rain of ashes, xx, xx (iR6) or: 1873 (HW), Return from Mount Vesuvius (Ritorno dal Vesuvio), 19×32, A2009/06/09 (iR11).
Claretie called these works ‘anecdotal landscape’. He reviewed ‘It is necessary to see the tourists going up in the steam of the craters, putting the foot on grounds with strange colours: yellow, sulphurous or green. All this must be accurate, studied and painted on the spot. The fat Englishman who descends from Vesuvius in the second painting does not pay attention to the vast horizon that the Gulf of Naples unfolds, in the distance, before him; he is quite wrong. This horizon is superb. M. de Nittis has rendered, with a liveliness of colour quite happy, the reflections of the setting sun on the waves that make the sea incandescent. At the bottom of the horizon, the island of Capri vaguely draws its silhouette, where one seems to always see the shadow of Tiberius. I do not hesitate to place this small painting by M. de Nittis among the most curious and best landscapes of this year’s Salon.’ (R264,p183/4).

S1874-1394, Dans les blés
Eng.: In the corn. Very uncertain options are: 18xx, Un berger dans un champ, 15×23, A20140401 (iR11); or: 18xx, In the Fields around London, 45×55, private (iR35;iR2); or: 18xx, Siesta (HW child lying in the field), xx, xx, (iR2).

S1874-1395, “Fait-il froid ! ! !”
Probably: 1874ca, Che Freddo! (Freezing!), 54×73, xx, (iR2;iR35). Claretie reviewed ‘adorable cold blooded running, the nose in their furs, at the edge of the Lake’ (R264,p256).

S1875-1544, Place de la Concorde .
Compare: 1880, Place de la Concorde (un angolo di piazza de la Concorde), xx, GB Milan (?) (iR6). Claretie reviewed ‘M. de Nittis did even better with the Place de la Concorde. It is a jewel that this view of a corner of the immense square, a winter day, of frost, I was going to say of ice. The characters are sketched and painted here with infinite suppleness and a fine, elegant and colourful touch. One would think that this painting is going to come to life so much the figures are alive. The fat lady with the fur-lined coat, who advances with precaution, the pretty young woman in a gray dress who moves away on the arm of her husband dressed in the ulster formerly in fashion, the child’s maid who crosses the square, are all excellent figures. The colorist of race is recognized with the lively touches which animate this painting of a silver tint, with the yellow awakenings of the omnibus cars or fabrics. A small marvel of execution is the water falling and bouncing in the shiny basin of the fountain. The bronze tritons are really wet by the incessant spurting of the jets. M. de Nittis has never done better and, whatever the skill of those who, like M. Tissot in London, try to follow in his footsteps, it is no less true that the author of this Place de la Concorde will have found, the first, in today’s painting, a personal style, a new corner, an accent of elegant moderation that one had not had, before him, in such a degree.’ (R264,p328/9).

S1875-1545, A Bougival (Seine-et-Oise) .
Bougival lies 20km west of Paris, see map. An uncertain option: 18xx, La Grenouillère, xx, private, (iR2). La Grénouillère lies on the Island Île de la Chaussée, which is part of Bougival.
Claretie reviewed ‘Is it possible to put more grace than in the painting entitled Bougival? A young blonde woman, seductive, lets her boat go with the current of the water, under the large shady trees of the bank, while she protects herself from the sun with a parasol on which the rays strike. It took all the skill of M. de Nittis’ brush to render the transparency of the white dress through which, under the young woman’s left arm, the sun appears bright and as if playing. The gloomy depth of the water that renders the reflection of the green leaves, the infinity of the horizon of this bank of Bougival of which one sees the hillsides and the villas, everything here is rendered with an absolutely individual skill and a charming and spiritual poetry. It is really the work of a painter. This landscape of Seine-et-Oise is worthy of framing the smiling Parisian woman who sits in the boat and goes away dreaming.’ (R264,p327/8).

S1876-1543, Sur la route de Castellamare
Additional info: (Appartient à M. Botkine). Eng.: On the road to Castellamare. Google maps gives several options for Castellamare. A very uncertain suggestian: 1867, La traversée des Apennins (la traversata degli Appennini), 41×76, MGNC Napels (iR6;iR41).

S1876-1544, Place des Pyramides .
Probably: 1875-6, Place des Pyramides, 92×75, Orsay, (iR2;iR36;iR6).

S1877-1598, Paris, vu du Pont-Royal .
Additional info: (Voir Dessins). Maybe: 1875ca, Rue de Paris with Carriages (street in Paris with carriages), 40×56, private, (iR2;iR6).

S1877-3210, Le boulevard Haussmann; aquarelle
Additional info: (Voir Peinture). Compare: 18xx, Portrait of a Gentleman on a Parisian Boulevard, xx, xx, (iR2).

S1877-3211, La place Saint-Augustin; aquarelle
Compare: 1882, The Place de Carousel and the Ruins of the Tuileries Palace, 45×60, Louvre (iR2;iR6;iR35).

S1878-1679, Coin de boulevard
Additional info: (Voir Dessins). A very uncertain option: 18xx, Le Parfumier, xx, private, (iR2).

S1878-3549, Au bois de Boulogne; pastel
Compare: 1874, Avenue de Bois du Boulogne, 32×42, A2008/11/12 (iR2;iR6;iR35;iR11); and: 1881-4ca, The Bois de Boulogne races (Triptych), 107×220(?), PdN Barletta (iR6).

S1878-3550, Arc de triomphe; aquarelle
Additional info: (Voir Peinture). Compare: 1873 (HW), Return from Mount Vesuvius (Ritorno dal Vesuvio), 19×32, A2009/06/09 (iR11); and: 1878-79ca, The Arc the Triumphe from the Avenue Foch, pastel, 54×73, private, (iR2).

S1879-2248, Une marchande d’allumettes dans la City (Londres)
Eng.: A match seller in the City (London). Compare: 1878, Trafalgar Square, xx, xx, (iR2); and: 1878, Westminster, xx, xx, (iR2;iR6).

SdAF-1884-1807, Le déjeuner
Two options: 1883-4ca, Breakfast in the Garden (Colarione in giardino), 81×117, GGdN Barletta (iR6;iR2;iR35;R3,p540) or: 1879ca, Lunch in Posillipo (Pranzo a Posillipo), xx, xx (iR6).

SdAF-1884-1808, La gardeuse d’oies
Eng.: The goose keeper. Compare: 18xx, Farmhouse (Casolare), 13×20, private, (iR2).

SdAF-1884-3052, Fleurs d’automne; pastel
Compare: 1882, dame à l’ulster, xx, private (iR6).

 

 

Citation: Please do not quote from this webpage, which is under construction. The information is incomplete and maybe partly incorrect.