Paper

Student Artwork Guide

Return from the Races

Name Class Date

Giuseppe De Nittis, Return from the Races (1875), Philadelphia Museum of Art. Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Giuseppe De Nittis originaluniqueart.com/en/artists/giuseppe-de-nittis/
Artist’s dates
1846 – 1884
Painted
1875
Medium
Oil On Canvas
Original size
55 x 114 cm
Movement
Impressionism Painters working fast and outdoors to catch how light actually looked at one moment, rather than finishing smoothly in a studio.
Held at
Philadelphia Museum of Art originaluniqueart.com/en/museums/philadelphia-museum-of-art-philadelphia/
Artistic style
Impressionist
Influences
Salon art, Impressionism
Notable elements
Bright colors, light & shadow
Subject or theme
Social scene, leisure

In context

Return from the Races — Giuseppe De Nittis

How big is it?

The original measures 55 × 114 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1840
  2. 1850
  3. 1860
  4. 1870
  5. 1880

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 38 at death.

Painted when the artist was 29. The artist lived to 38. 5 of the 30 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Giuseppe De Nittis (1846–1884) ▲ this work, 1875 every dated painting, decade by decade

First works: up to 1875 Main working years: 1875–1881 Late works: from 1881

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: originaluniqueart.com/en/art/similar/giuseppe-de-nittis-return-from-the-races-8YDRG3-en/

Colours

Measured from the image

    Main colour

    Espresso #3a251c

    Catalogued palette

    • #3A251C
    • #CECACC
    • #AC9578
    • #826640

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Neutrals The dominant colour family in the image.
    Main colour name
    Espresso
    Intensity
    Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Statement How much the colours differ in lightness and saturation across the picture.
    Harmony
    Balanced Harmony How well the colours work together, from clashing to fully unified.
    Brightness
    Brilliant How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Subtle Color How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Giuseppe De Nittis over the last twelve months — 7 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 63.0%
    2. 2 Italy 15.2%
    3. 3 United Kingdom 6.5%
    4. 4 United States of America 6.5%
    5. 5 France 4.3%
    6. 6 Israel 2.2%
    7. 7 Singapore 2.2%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by Giuseppe De Nittis

    1. 1 The Orange Kimono, 1883 12.3%
    2. 2 Nude with Red Stockings, 1879 7.0%
    3. 3 Twelve Studies of Vesuvius 5.3%
    4. 4 A Lady from Naples 5.3%
    5. 5 Twelve Studies of Vesuvius 5.3%
    6. 6 Return from the ball 5.3%
    7. 7 Lungo l'Ofanto, 1870 5.3%
    8. 8 Lunch at Posillipo 3.5%
    9. 9 Twelve Studies of Vesuvius 3.5%
    10. 10 A Roman Aqueduct, 1875 3.5%
    11. 11 Poplars 3.5%
    12. 12 Winter Landscape, 1880 3.5%
    13. 13 Campagna vesuviana 3.5%
    14. 14 The Races at Auteuil, Paris 3.5%
    15. 15 On the Slopes of Vesuvius (III), 1872 1.8%
    16. 16 A Winter's Landscape, 1875 1.8%
    17. 17 Twelve Studies of Vesuvius 1.8%
    18. 18 Twelve Studies of Vesuvius 1.8%
    19. 19 Femme aux pompons (Woman with Pompoms) 1.8%
    20. — Return from the Races, 1875 this painting 0.0%

    Together these works take 79.3% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 66 works by this artist, of which 31 were looked at at least once. This painting has not been looked at yet in that time — it closes the list without a rank. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    About this artwork

    Return from the Races — Giuseppe De Nittis

    A Glimpse of Leisure: De Nittis’ “Return from the Races”

    Giuseppe De Nittis' "Return from the Races," painted in 1875, isn’t merely a depiction of a pleasant afternoon; it’s a vibrant snapshot of late 19th-century Italian society, imbued with the fleeting beauty and emotional resonance characteristic of Impressionism. This oil on canvas, measuring 55 x 114 cm and currently residing in the Philadelphia Museum of Art, captures a scene brimming with life – elegantly dressed figures returning from a horse race, their carriages mingling with pedestrians along a sun-drenched street. De Nittis masterfully eschews meticulous detail in favor of capturing the impression of the moment: the dappled light filtering through trees, the movement of horses and riders, the animated conversations amongst the onlookers. The painting’s power lies not in photographic realism but in its ability to evoke a specific feeling – a sense of joyful camaraderie and the transient pleasures of modern life.

    The Artist and His Vision: Bridging Salon Art and Impressionism

    Giuseppe De Nittis (1846-1884) stands as a pivotal figure in Italian art history, skillfully blending the formal conventions of academic salon painting with the revolutionary spirit of Impressionism. Born in Barletta, Italy, his early career was tragically disrupted by an expulsion from Naples’ Institute of Fine Arts – an event that fueled his determination to forge his own artistic path. De Nittis' work is deeply rooted in the Macchiaioli movement, a group of Italian artists who championed bold brushstrokes and a rejection of academic precision. This influence is immediately apparent in “Return from the Races,” where loose, expressive strokes create a sense of dynamism and immediacy. Unlike the polished surfaces favored by some Salon painters, De Nittis embraces visible brushwork, inviting the viewer to appreciate the act of painting itself – the layering of color, the manipulation of light and shadow.

    A Symphony of Light and Color: Technique and Composition

    The painting’s composition is carefully orchestrated to draw the eye through the scene. The foreground establishes a sense of depth with its grassy expanse leading towards the gravel path where carriages are parked. Central to the image, a group of horses and carriages dominates the midground, their movement suggested by De Nittis' skillful use of color and brushwork. The figures in the background – women in elaborate dresses, men in formal attire – are rendered with a lighter touch, emphasizing their presence without overwhelming the overall composition. Notice how De Nittis employs broken color—small dabs of paint rather than blended hues—to create an atmospheric effect, particularly evident in the hazy sky and dappled sunlight. This technique contributes to the painting’s sense of immediacy and captures the fleeting effects of light on the scene. The artist's use of warm yellows and oranges contrasts beautifully with cooler blues and greens, creating a vibrant and engaging visual experience.

    Symbolism and Social Commentary

    Beyond its aesthetic qualities, “Return from the Races” offers subtle insights into the social dynamics of 19th-century Italy. The scene depicts a leisure activity enjoyed by the upper classes – a time for socializing, entertainment, and demonstrating wealth. The horses and carriages represent status and privilege, while the figures themselves embody the elegance and refinement of the era. However, De Nittis doesn’t simply celebrate this social order; he captures the feeling of it—the joy, the conversation, the shared experience. The painting subtly hints at a world undergoing rapid change, where traditional values are being challenged by the rise of modern life. The overall mood is one of relaxed enjoyment and convivial spirit, inviting us to step back in time and witness a moment of fleeting beauty.

    High-quality reproductions of “Return from the Races” are available on AllPaintingsStore.com, allowing art lovers to bring this captivating Impressionist masterpiece into their homes. For more information about Giuseppe De Nittis and his artistic legacy, visit Wikipedia’s page on the artist. The Philadelphia Museum of Art also offers custom prints of this iconic painting.

    Artist and museum

    Artist

    Giuseppe De Nittis

    Born in Barletta, Italy

    The Luminescent Legacy of Giuseppe De Nittis

    Giuseppe De Nittis stands as a pivotal figure in the tapestry of nineteenth-century art, a master whose brush possessed the rare ability to bridge the formal elegance of the academic Salon with the fleeting, vibrant spontaneity of Impressionism. Born on February 25, 1846, in the coastal city of Barletta, Italy, De Nittis was raised in an environment of burgeoning cultural wealth. His early artistic path was shaped by the rigorous tutelage of Giovanni Battista Calò, yet his spirit was far too restless for the confines of traditionalism. A notable moment of rebellion—his controversial expulsion from Naples’ Instituto di Belle Arti due to insubordination—served not as an end, but as a transformative catalyst. This early friction with authority ignited a lifelong determination to explore the boundaries of light and atmosphere, pushing him toward the revolutionary currents of his era.

    Before conquering the streets of Paris, De Nittis found himself deeply immersed in the Macchiaioli movement. This group of Italian innovators sought to reject meticulous, photographic detail in favor of bold, expressive patches of color and light. Through his connections with luminaries such as Telemaco Signorini and Serganfibro de Tivoli, he honed a technique that prioritized the emotional weight of a scene over mere anatomical precision. His early participation in Florentine exhibitions cemented his reputation within the Italian avant-garde, establishing a foundation of stylistic courage that would later allow him to navigate the complex social and artistic hierarchies of France with unparalleled grace.

    A Parisian Odyssey: Light, Life, and the Impressionist Circle

    In 1867, De Nittis embarked on a journey that would redefine his destiny, relocating to Paris. This move was both a professional triumph and a strategic masterstroke; by securing a contract with the influential art dealer Adolphe Goupil, he gained access to the most sophisticated art market in the world. As he navigated the bustling boulevards of the French capital, De Nittis became more than just a spectator of modern life—he became its chronicler. His work began to capture the rhythmic pulse of an economically booming city, utilizing plein air techniques to document the rain-slicked streets and the sophisticated elegance of Parisian society.

    The artist’s social and professional orbit brought him into intimate contact with the giants of Impressionism. His friendships with Edgar Degas and Édouard Manet were not merely social, but deeply symbiotic, influencing his approach to composition and subject matter. While his Salon debut earned him widespread acclaim for his technical skill, it was his ability to infuse urban scenes with a sense of atmospheric movement that truly set him apart. Whether depicting the electric energy of The Place des Pyramides or the sun-drenched leisure of Lunch at Posillipo, De Nittis possessed an uncanny knack for capturing the ephemeral—the way light dances on a wet pavement or how shadows stretch across a crowded garden.

    Mastery of Atmosphere and Enduring Significance

    The breadth of De Nittis’ oeuvre reveals an artist of profound versatility. He was equally at home painting the dramatic, volcanic majesty of his native landscapes as he was capturing the high-society glamour of French horse racing. His Twelve Studies of Vesuvius remain breathtaking testaments to his ability to manipulate color and light to evoke the raw power of nature, while his depictions of the Races at Longchamps showcase his mastery of movement and social spectacle. Through his use of both oil and delicate pastels, he explored a spectrum of textures that allowed him to render everything from the heavy atmosphere of a storm to the soft, fleeting glow of a sunset.

    Though his life was tragically short, ending in 1884, the historical significance of Giuseppe De Nittis remains undiminished. He acted as a vital cultural conduit, translating the revolutionary spirit of Italian landscape painting into the sophisticated language of French Impressionism. His work serves as a window into a vanished era of elegance and transformation, reminding us that true artistry lies in the ability to find the eternal within the momentary. Today, his legacy continues to inspire, standing as a testament to a life spent chasing the light.

    Museum

    Philadelphia Museum of Art

    On show in Philadelphia, United States of America

    A Sanctuary of Artistic Voices: The Philadelphia Museum of Art

    Nestled on the crest of Benjamin Franklin Parkway in the heart of Philadelphia, the Philadelphia Museum of Art is more than just a repository for art; it’s an immersive experience, a testament to centuries of human creativity and a vibrant reflection of American culture. From its humble beginnings as a showcase for the Centennial Exposition to its current status as one of the nation's premier art institutions, the museum has consistently evolved while remaining deeply rooted in its rich history. The iconic steps, immortalized in the film Rocky, beckon visitors not just to admire the building’s grandeur but to participate in a shared cultural narrative—a symbol of perseverance and the enduring power of artistic aspiration. More than simply displaying masterpieces, the museum invites contemplation, sparking dialogue and fostering a profound connection between the viewer and the art itself.

    The story begins with the grand vision of the 1876 Centennial Exposition. Initially conceived as a showcase for applied arts and sciences—a celebration of industry and innovation—it quickly blossomed into a comprehensive institution dedicated to preserving and exhibiting art from across globe. The architectural design, spearheaded by Horace Trumbauer and brought to life through the crucial contributions of Julian Abele—the first African-American graduate of the University of Pennsylvania’s Department of Architecture—is itself a work of art. Constructed from Minnesota dolomite, the building exudes an elegance and grandeur befitting its contents, a physical embodiment of artistic ideals. Abele's meticulous detailing – the delicate carvings, the precisely placed columns, the subtle variations in stone texture – adds a layer of refined beauty that elevates the entire structure beyond mere functionality. It’s a building designed not just to house art, but to celebrate it, a harmonious blend of classical inspiration and modern sensibility.

    Stepping inside is akin to embarking on a journey through time and across continents. The museum's collection boasts over 240,000 objects, encompassing an astonishing range of artistic mediums and historical periods. European paintings dominate the early galleries, offering a sweeping panorama from the Renaissance masters—Botticelli’s ethereal Venus, a study in delicate color and idealized beauty, Rembrandt’s dramatic lighting, capturing both the grandeur and vulnerability of human experience, to the Impressionists—Monet’s shimmering water lilies, evoking the fleeting nature of light and atmosphere, Renoir’s joyful gatherings, brimming with life and the celebration of everyday moments. However, to limit the museum to its European holdings would be a profound disservice. A comprehensive survey of American art unfolds before the visitor’s eyes, tracing the evolution of artistic expression within the United States from colonial times to contemporary explorations. This section provides a rich understanding of how America's unique cultural landscape has shaped its artistic identity, showcasing works by artists like William Michael Harnett, whose “Still Life: Writing Table” exemplifies the mastery of trompe-l’œil realism—a technique so convincing that it appears to leap off the canvas, blurring the line between art and reality, and Nettie Pettway Young, whose iconic Gee’s Bend quilts embody the spirit of African American artistry—each stitch a testament to tradition, resilience, and profound storytelling. Beyond Europe and America, the museum extends its reach across continents with an extensive collection of Asian art—ceramics, bronzes, paintings, and sculptures that offer glimpses into the region's profound artistic heritage, including the exquisite works of Gim Eung-won, a Korean master painter renowned for his intricate depictions of orchids and rocks – capturing both their delicate beauty and the strength of nature.

    A Living Cultural Hub: Exhibitions and Engagement

    The Philadelphia Museum of Art is not merely a place to view art; it’s a space designed to foster engagement and inspire creativity. The museum consistently hosts rotating special exhibitions that bring fresh perspectives and introduce new artists to the public eye, ranging from groundbreaking retrospectives celebrating the legacies of masters like Cézanne – exemplified by his poignant “Seated Peasant,” a study in muted tones and expressive brushstrokes – to thematic explorations of specific artistic movements. These initiatives ensure that the museum remains a dynamic cultural hub, constantly evolving and adapting to the needs of its community. Beyond these temporary displays, the museum offers a wealth of educational programs tailored for audiences of all ages—from family workshops and school tours designed to spark curiosity in young minds, to lectures and artist talks offering insights into the creative process, making art accessible and engaging for everyone.

    Architectural Marvels and Historical Context

    The building itself is an integral part of the museum’s story. The original design by Horace Trumbauer, complemented by Julian Abele's masterful detailing, reflects a commitment to architectural grandeur and artistic harmony. However, the museum’s evolution has continued through significant expansions and renovations. The addition of the Rodin Museum, housing Auguste Rodin’s iconic sculptures including The Thinker, provides a dedicated space for this influential artist’s work – a powerful meditation on contemplation and humanity's inner struggles, and more recently, the Perelman Building, designed by Frank Gehry, opened in 2007, dramatically reshaping the interior and adding new galleries for prints, drawings, photographs, and design objects. This modern addition seamlessly integrates with the historic building, creating a dynamic and visually stunning space – a testament to the museum’s ability to embrace innovation while honoring its past.

    A Legacy of Innovation and Expansion

    Throughout its history, the Philadelphia Museum of Art has demonstrated a commitment to growth and innovation. The museum’s dedication to diversity, equity, inclusion, and accessibility is reflected in ongoing efforts to ensure that all visitors feel welcome and valued. The Core Project, completed in 2021, represents a monumental investment in the museum's future, transforming the interior with new galleries, improved circulation, and enhanced visitor amenities. The addition of stunning views of the city skyline from the renovated spaces further elevates the visitor experience. “Rocky Steps” themselves are more than just a visual landmark; they’re a symbol of determination and achievement, attracting visitors from around globe who come to reenact the iconic scene and connect with the spirit of perseverance. The museum's commitment extends beyond its main building, encompassing the historic colonial-era houses of Mount Pleasant and Cedar Grove in Fairmount Park, adding another layer to its historical significance and offering a glimpse into Philadelphia’s past.

    Where to read more

    Find this online

    QR code linking to the download page for Return from the Races

    originaluniqueart.com/en/art/download/giuseppe-de-nittis-return-from-the-races-8YDRG3-en/

    Cite this artwork

    MLA
    Nittis, Giuseppe De. Return from the Races. 1875, Philadelphia Museum of Art. https://originaluniqueart.com/en/art/giuseppe-de-nittis-return-from-the-races-8YDRG3-en/
    APA
    Nittis, Giuseppe De (1875). Return from the Races [Painting]. Philadelphia Museum of Art. https://originaluniqueart.com/en/art/giuseppe-de-nittis-return-from-the-races-8YDRG3-en/
    Chicago
    Giuseppe De Nittis. Return from the Races. 1875. Philadelphia Museum of Art. https://originaluniqueart.com/en/art/giuseppe-de-nittis-return-from-the-races-8YDRG3-en/
    Harvard
    Nittis, Giuseppe De (1875) Return from the Races. Philadelphia Museum of Art. Available at: https://originaluniqueart.com/en/art/giuseppe-de-nittis-return-from-the-races-8YDRG3-en/

    Look closely

    Return from the Races — Giuseppe De Nittis

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. How many faces can you find? ____ (our catalogue counts 6 — do you agree?)
    4. Our catalogue files this work under: horse racing, leisure scene, 19th century. Do you agree? What would you add, or take away?
    5. Look back at On the Slopes of Vesuvius (III) (1872), earlier in this guide. Name two things it shares with this work, and one that is different.

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Art quiz

    Return from the Races — Giuseppe De Nittis

    How well do you know this artwork?

    Tick one answer for each of the 5 questions below. Each has exactly one correct answer.

    1. 1. What artistic movement is Giuseppe De Nittis primarily associated with?

      • A Cubism
      • B Impressionism
      • C Surrealism
    2. 2. In 'Return from the Races,' what is a prominent feature that contributes to the painting's sense of movement?

      • A Detailed rendering of individual faces
      • B Loose and visible brushstrokes
      • C A static, symmetrical composition
    3. 3. What year was Giuseppe De Nittis' painting 'Return from the Races' created?

      • A 1865
      • B 1875
      • C 1890
    4. 4. According to the description, what is a key characteristic of De Nittis' style?

      • A Emphasis on precise detail and realism
      • B Capturing fleeting moments of contemporary life with light and color
      • C Strict adherence to academic salon painting conventions
    5. 5. Where is 'Return from the Races' currently housed?

      • A The Louvre Museum, Paris
      • B The Philadelphia Museum of Art
      • C The Metropolitan Museum of Art, New York

    My score: ____ out of 5

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1A · 2A · 3B · 4A · 5B

    Check any answer against the catalogue record for this painting

    Questions & Answers

    What is the luminance of "Return from the Races" by Giuseppe De Nittis?

    "Return from the Races" by Giuseppe De Nittis has a bright balance luminance. Luminance describes how much light the colors appear to reflect.

    How well known is "Return from the Races" by Giuseppe De Nittis?

    "Return from the Races" by Giuseppe De Nittis has a recognized popularity level. This classification reflects how widely the work is recognized.

    What size is "Return from the Races" by Giuseppe De Nittis in real life?

    The recorded dimensions of "Return from the Races" by Giuseppe De Nittis are 55 x 114 cm. Reproductions can be ordered in other sizes while keeping the same proportions.