Tamaño de papel

Guía de obras estudiantiles

Return from the Races

Nombre Clase Fecha

Giuseppe De Nittis, Return from the Races (1875), Philadelphia Art Museum. Dominio público. Observe este lienzo bajo una luz en movimiento: el dibujo, el color real bajo el barniz, el pigmento puro

Datos clave

Artista
Giuseppe De Nittis originaluniqueart.com/es/artists/giuseppe-de-nittis_es/
Fechas del artista
1846 – 1884
Pintura al óleo
1875
Técnica y materiales
Oil On Canvas
Tamaño original
55 x 114 cm
Movimiento
Impressionism Painters working fast and outdoors to catch how light actually looked at one moment, rather than finishing smoothly in a studio.
Celebrado en
Philadelphia Art Museum originaluniqueart.com/es/museums/philadelphia-art-museum-filadelfia_es/
Artistic style
Impressionist
Influences
Salon art, Impressionism
Notable elements
Bright colors, light & shadow
Subject or theme
Social scene, leisure

En contexto

Return from the Races — Giuseppe De Nittis

Dimensiones

Las medidas originales son 55 × 114 cm (alto × ancho), representadas aquí junto a un adulto de estatura media.

¿Cuándo se pintó esta obra?

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

Fila superior: los años. Fila inferior: la edad del artista al inicio y al final de cada periodo — 0 al nacer, 38 al morir.

Pintado cuando el artista tenía 29. El artista vivió hasta los 38. 5 de las 30 obras fechadas de este artista en nuestro catálogo son anteriores.

Sombreado: la trayectoria de Giuseppe De Nittis (1846–1884) ▲ esta obra, 1875 cada pintura fechada, década tras década

Primeras obras: hasta 1875 Años principales de actividad: 1875–1881 Obras tardías: desde 1881

Estas tres franjas dividen las obras de este catálogo que cuentan con una fecha en un primer cuarto, una mitad central y un último cuarto. No representan la producción completa del artista: un periodo breve puede ser un vacío en el registro más que una etapa de inactividad. Los mismos años con la vida del artista trazada en ellos

Comparar con

Elige una de las obras anteriores: menciona dos cosas que comparta con esta y una diferencia.

Más obras para acompañar a esta: originaluniqueart.com/es/art/similar/giuseppe-de-nittis-return-from-the-races-8YDRG3-en/

Colores

Medido a partir de la imagen

    Color principal

    Espresso #3a251c

    Paleta catalogada

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

    Estos colores integrados en toda la paleta del artista Encuentra otras pinturas por color

    Paleta
    Neutrals La gama cromática dominante en la imagen.
    Nombre del color principal
    Espresso
    Intensidad
    Balanced Qué saturados y variados son los colores, desde un único tono tenue hasta una gran variedad de tonos brillantes.
    Contraste
    Statement El grado de diferencia entre los colores en cuanto a luminosidad y saturación a lo largo de la obra.
    Armonía
    Balanced Harmony El grado de armonía entre los colores, desde el contraste hasta la total unidad.
    Brillo
    Brilliant El grado de luminosidad o oscuridad general de la imagen, desde las sombras profundas hasta las luces intensas.
    Saturación
    Subtle Color Qué puros y fuertes son los colores, desde un gris casi tenue hasta una viveza total.

    ¿En qué parte del mundo se contempla esta pintura?

    • menos del 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% o más
    Esta pintura por sí sola cuenta con muy pocos visitantes registrados para realizar un mapeo, por lo que la lámina muestra cada obra de Giuseppe De Nittis durante los últimos doce meses: 7 países en total. Origen de estas cifras

    Los diez principales países

    1. 1 China 63,0%
    2. 2 Italia 15,2%
    3. 3 Reino Unido 6,5%
    4. 4 Estados Unidos 6,5%
    5. 5 Francia 4,3%
    6. 6 Israel 2,2%
    7. 7 Singapur 2,2%

    Localiza los tres países más oscuros en el mapa. ¿Se encuentra alguno de ellos en el país donde se custodia esta pintura? Escribe una razón por la cual personas de lugares lejanos podrían viajar para verla.

    Las 20 obras más vistas de Giuseppe De Nittis

    1. 1 The Orange Kimono, 1883 12,7%
    2. 2 Nude with Red Stockings, 1879 7,3%
    3. 3 Doce estudios del Vesubio 5,5%
    4. 4 A Lady from Naples 5,5%
    5. 5 Estudios de Vesubio XII 5,5%
    6. 6 Return from the ball 5,5%
    7. 7 Lungo l'Ofanto, 1870 5,5%
    8. 8 Lunch at Posillipo 3,6%
    9. 9 Twelve Studies of Vesuvius 3,6%
    10. 10 Poplars 3,6%
    11. 11 Winter Landscape, 1880 3,6%
    12. 12 Campagna vesuviana 3,6%
    13. 13 The Races at Auteuil, Paris 3,6%
    14. 14 On the Slopes of Vesuvius (III) - Sobre las Falde del Vesubio (III), 1872 1,8%
    15. 15 A Winter's Landscape, 1875 1,8%
    16. 16 Twelve Studies of Vesuvius 1,8%
    17. 17 Twelve Studies of Vesuvius 1,8%
    18. 18 Mujer con pompones 1,8%
    19. 19 In the Forest 1,8%
    20. — Return from the Races, 1875 esta obra 0,0%

    En conjunto, estas obras representan el 79,9% de toda la atención que recibieron las pinturas de este artista durante los últimos doce meses. El catálogo contiene 66 obras de este artista, de las cuales 30 fueron consultadas al menos una vez. Esta pintura aún no ha recibido visitas en ese periodo; cierra la lista sin una clasificación. Los mismos datos, mes a mes

    Las barras miden la atención, no la calidad. Elige la obra de arriba y esta otra: menciona un factor que podría hacer que una pintura sea famosa más allá de su técnica.

    Sobre esta obra

    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.

    Artista y museo

    Artista

    Giuseppe De Nittis

    Nacido en Barletta, Italia

    Giuseppe De Nittis: Bridging Salon Art and Impressionism

    Giuseppe De Nittis (February 25, 1846 – August 21, 1884) was one of the most important Italian painters of the 19th century, whose work merges the styles of Salon art and Impressionism. Born in Barletta, Apulia, Italy, he initially studied under Giovanni Battista Calò before being expelled from the Instituto di Belle Arti in Naples for insubordination. This early rejection fueled his determination to forge a path independent of academic conventions—a stance that would define his artistic trajectory.

    Early Life and Formation: De Nittis’s upbringing instilled in him a rebellious spirit, evident in his refusal to adhere to the rigid doctrines of the Academy. His father, Raffaele, was a vocal critic of the Bourbon monarchy, shaping Giuseppe's worldview and fostering a commitment to intellectual freedom.

    The Macchiaioli Influence: De Nittis’s encounter with Telemaco Signorini and other Macchiaioli artists proved pivotal. This movement championed direct observation of nature—a radical departure from academic painting—and profoundly impacted De Nittis's artistic approach, prioritizing tonal harmonies and capturing fleeting moments of light.

    Parisian Years: Moving to Paris in 1867 marked a crucial turning point. He established connections with fellow artists like Ernest Meissonier and Jean-Léon Gérôme, immersing himself in the vibrant Parisian art scene. His contract with Adolphe Goupil necessitated producing commercially viable genre paintings—a challenge he embraced while simultaneously exploring Impressionistic techniques.

    Notable Achievements: De Nittis achieved considerable acclaim during the Exposition Universelle of 1878, securing a gold medal and receiving the Légion d’honneur for his artistic contributions. His painting Che freddo! (It's So Cold!) captivated audiences at the Salon in 1874, cementing his reputation as an Impressionist innovator.

    Legacy: De Nittis’s influence extended beyond his own lifetime. His distinctive pastel style—characterized by luminous colors and delicate textures—inspired subsequent generations of artists. Furthermore, his unwavering dedication to capturing the essence of natural light and color continues to resonate within the broader artistic canon.

    Artistic Style and Technique

    De Nittis’s distinctive style was characterized by a masterful blend of Salon art traditions and Impressionist principles. He prioritized tonal harmonies—a technique championed by Signorini and other Macchiaioli—creating paintings that conveyed atmospheric depth and emotional resonance. However, unlike many of his contemporaries, De Nittis embraced plein air painting with fervor, meticulously observing the subtleties of light and color as they shifted across landscapes and portraits. His use of pastel was particularly noteworthy; he elevated this medium to new heights, achieving unparalleled luminosity and expressive power.

    Major Works

    De Nittis produced a prolific oeuvre encompassing landscapes, genre scenes, and portraiture—each infused with his signature aesthetic vision. Among his most celebrated paintings are Races at Auteuil (1881), capturing the dynamism of equestrian sport; Portrait of Madame de Florian by Giovanni Boldini, showcasing De Nittis’s skill in portraying human emotion; Paesaggio con bovi (1855), a serene depiction of pastoral life; and Vesuvius, where he skillfully rendered the imposing volcano's majesty. His pastel portraits—including those of Edgar Degas and Gustave Moreau—demonstrate his mastery of tonal modulation and textural nuance.

    Influence and Recognition

    Giuseppe De Nittis’s artistic legacy endured beyond his lifetime, influencing subsequent generations of painters who admired his innovative approach to Impressionism and Macchiaioli aesthetics. His unwavering commitment to capturing the beauty of nature—combined with his technical virtuosity—established him as a cornerstone of Italian art history. Today, his paintings reside in prominent museums worldwide—including the Musée d’Orsay in Paris, the British Museum in London, and the Metropolitan Museum of Art in New York—testament to the enduring power of his artistic vision.

    Museo

    Philadelphia Art Museum

    En exposición en Filadelfia, Estados Unidos de América

    A Sanctuary of Artistic Voices: The Philadelphia Museum of Art

    Nestled majestically on the crest of Benjamin Franklin Parkway in the heart of Philadelphia, the Philadelphia Museum of Art is far more than a mere repository for art; it’s an immersive experience, a profound testament to centuries of human creativity and a vibrant reflection of American culture. From its modest beginnings as a showcase for the Centennial Exposition to its current status as one of the nation's premier artistic institutions, the museum has consistently evolved while remaining deeply rooted in its rich and storied past. 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 unwavering perseverance and the enduring power of artistic aspiration. More than simply displaying masterpieces, the museum invites contemplation, sparking dialogue, and fostering a deeply felt connection between the viewer and the art itself, transforming each visit into an unforgettable journey.

    The story’s genesis lies in the ambitious vision of the 1876 Centennial Exposition. Initially conceived as a celebration of applied arts and sciences—a tribute to industry and innovation—the exhibition quickly blossomed into a comprehensive institution dedicated to preserving and exhibiting art from across the globe. The architectural design, masterfully 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 breathtaking work of art. Constructed from the luminous Minnesota dolomite, the building exudes an unparalleled elegance and grandeur, a physical embodiment of artistic ideals. Abele's meticulous detailing—the delicate carvings adorning every surface, the precisely placed columns reaching towards the heavens, the subtle variations in stone texture that create a mesmerizing interplay of light and shadow – elevates the entire structure beyond mere functionality, transforming it into a harmonious blend of classical inspiration and modern sensibility.

    Stepping inside is akin to embarking on a captivating voyage through time and across continents. The museum’s collection boasts an astonishing 240,000 objects, encompassing an extraordinary range of artistic mediums and historical periods. European paintings form the cornerstone of 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; the Impressionists—Monet’s shimmering water lilies, evoking the fleeting nature of light and atmosphere; Renoir’s joyful gatherings, brimming with life and celebrating the simple pleasures of everyday moments. However, to confine the museum solely 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 reveals how America’s unique cultural landscape has profoundly 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 convincingly realistic 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 rich 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 passively observe art; it’s a dynamic space designed to foster engagement, ignite curiosity, 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 carefully curated initiatives ensure that the museum remains a vibrant cultural hub, constantly evolving and adapting to meet the needs and interests of its diverse community.

    Beyond these temporary displays, the museum offers a wealth of educational programs tailored for audiences of all ages—from engaging family workshops designed to spark curiosity in young minds and school tours that provide valuable insights into artistic techniques and historical context, to stimulating lectures and artist talks offering profound perspectives on the creative process. These initiatives underscore the museum’s commitment to making art accessible and engaging for everyone, regardless of their background or experience.

    Architectural Marvels and Historical Context

    The building itself is an integral part of the museum's story—a testament to architectural grandeur and artistic harmony. The original design by Horace Trumbauer, complemented by Julian Abele’s masterful detailing, reflects a deep commitment to creating a space that celebrates both art and architecture. However, the museum’s evolution has continued through significant expansions and renovations over the years.

    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. More recently, the Perelman Building, designed by Frank Gehry, opened in 2007, dramatically reshaping the interior and adding new galleries specifically designed 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 rich past.

    A Legacy of Innovation and Expansion

    Throughout its history, the Philadelphia Museum of Art has consistently demonstrated a commitment to growth, innovation, and inclusivity. The museum's dedication to diversity, equity, inclusion, and accessibility is reflected in ongoing efforts to ensure that all visitors feel welcomed, valued, and represented. 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 – creating an even more welcoming and intuitive experience for all.

    And of course, no discussion of the Philadelphia Museum of Art would be complete without acknowledging “Rocky Steps” themselves—more than just a visual landmark, they’re a powerful symbol of determination, perseverance, and achievement, attracting visitors from around the globe who come to reenact the iconic scene and connect with the spirit of resilience that has become synonymous with this extraordinary institution. 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.

    Dónde leer más

    Consíguelo en línea

    Código QR que enlaza con la página de descarga de Return from the Races

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

    Cómo citar esta obra

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

    Observa de cerca

    Return from the Races — Giuseppe De Nittis

    Observa con atención

    Responda con sus propias palabras. Aquí no hay respuestas incorrectas, solo respuestas que pueda explicar.

    1. ¿Qué es lo primero que le llama la atención y por qué?
    2. ¿Qué colores o formas crean la atmósfera, y cuál es esa atmósfera?
    3. ¿Cuántos rostros puedes encontrar? ____ (nuestro catálogo cuenta con 6 — ¿estás de acuerdo?)
    4. Nuestro catálogo clasifica esta obra bajo: horse racing, leisure scene, 19th century. ¿Está de acuerdo? ¿Qué añadiría o qué eliminaría?
    5. Vuelva a consultar On the Slopes of Vesuvius (III) - Sobre las Falde del Vesubio (III) (1872), al principio de esta guía. Mencione dos elementos que comparta con esta obra y uno que sea diferente.

    Tu respuesta

    Escriba un breve párrafo sobre esta obra de arte. Utilice los datos de las secciones anteriores de esta guía y sus respuestas anteriores.

    Cuestionario de arte

    Return from the Races — Giuseppe De Nittis

    ¿Qué tanto conoces esta obra de arte?

    Selecciona una respuesta para cada una de las 5 preguntas a continuación. Cada una tiene exactamente una respuesta correcta.

    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

    Mi puntuación: ____ de 5

    Clave de respuestas — para el profesor

    Esto genera una página impresa independiente, por lo que puede omitirse fácilmente en las copias.

    1A · 2A · 3B · 4A · 5B

    Consulte el registro del catálogo de esta pintura para verificar cualquier respuesta

    Preguntas y respuestas

    ¿Cuál es la técnica y las dimensiones de "Return from the Races" de Giuseppe De Nittis?

    La técnica de "Return from the Races" de Giuseppe De Nittis es Oil On Canvas y sus dimensiones registradas son 55 x 114 cm.

    ¿Es "Return from the Races" de Giuseppe De Nittis una obra de tonos claros u oscuros?

    "Return from the Races" presenta un brillo general de brilliant y una luminancia de Bright Balance.

    ¿Qué tono emocional transmite el estilo Impressionism de "Return from the Races"?

    La emoción Tranquil de "Return from the Races" acompaña a su estilo Impressionism.