Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 1 værker af Roberto Ferruzzi i vores katalog
Kort sagt
Af alle de originale værker, som Roberto Ferruzzi efterlod, er det mest berømte Madonnina (1897). Vores katalog indeholder 1 værker af Roberto Ferruzzi; galleriet har bevaret de 1 værker, som verden beundrer mest, hver vist med sin dato, sit museum og sin historie.
En ung kvinde vugger et sovende spædbarn mod tyngden af en tung blå kappe. Scenen er et nærbillede, et privat øjeblik fanget i eftermiddagens bløde lys. Hendes ansigt er en undersøgelse af milde konturer, oplyst fra øverste venstre side for at kaste skygger, der definerer hendes klædnings folder. Barnet hviler i et bleggyldent klæde, en lille varme mod de kølige, dæmpede toner i kvindens påklædning. Der er en stilhed her,…
1897 er året for hvert dateret Roberto Ferruzzi værk i dette udvalg: her er de, rangeret efter berømmelse.
Vælg et årstal for at se de originale værker.
En ung kvinde vugger et sovende spædbarn mod tyngden af en tung blå kappe. Scenen er et nærbillede, et privat øjeblik fanget i eftermiddagens bløde lys. Hendes ansigt er en undersøgelse af milde konturer, oplyst fra øverste venstre side for at kaste skygger, der definerer hendes klædnings folder. Barnet hviler i et bleggyldent klæde, en lille varme mod de kølige, dæmpede toner i kvindens påklædning. Der er en stilhed her,…
Madonnina (1897)
44 år gammel: Madonnina er fra 1897, og Roberto Ferruzzi blev født i 1853.
Vores katalog indeholder 1 værker af Roberto Ferruzzi.
To understand Roberto Ferruzzi, one must look past the ubiquitous presence of his most famous work and examine the man who abandoned a legal career for the brush. He was not a product of formal art academies, but a self-taught painter who found his true vocation after studying classics in Dalmatia. His life moved between the shores of Sebenico and the canals of Venice, a trajectory that shaped a focus on figure and genre painting. While he earned a law degree from the University of Padua, his legacy rests entirely on his ability to capture human emotion without the academic scaffolding of traditional training.
The 1897 exhibition at the second Venice Biennale changed how the public perceived his talent. It was here that he presented Madonnina, a work that would eventually transcend its original context. Though often viewed through a religious lens today, the painting was born from a specific moment of observation involving a young girl and her brother. This ability to find profound meaning in simple, domestic scenes defined his output.
Ferruzzi’s exhibition history reveals a steady presence in the major art centers of his era. He first appeared on the scene in 1883 in Turin, presenting works that focused heavily on the human form. His later years saw him participating in significant displays such as the Palermo exposition between 1891 and 1892, where his painting Hush! earned formal recognition. These were not mere decorative pieces; they were genre paintings designed to provoke a reaction through narrative clarity.
His technical development was marked by several key milestones:
Ferruzzi’s life concluded in Venice, the city that had been his home since early childhood. He died on 16 February 1934 and was laid to rest in the small cemetery of Luvigliano. His family continued his connection to the arts; his son, Roberto, became a painter of lagoons, while his grandson worked as an art appraiser. This lineage kept the Ferruzzi name tied to the Venetian landscape long after the original artist had passed.
