Papel

Guia de Obras de Estudantes

Return from the Races

Nome Turma Data

Giuseppe De Nittis, Return from the Races (1875), Museu de Arte da Filadélfia. Domínio público. Veja esta tela sob uma luz em movimento: o desenho, a cor real sob o verniz, o pigmento puro

Dados principais

Artista
Giuseppe De Nittis originaluniqueart.com/pt/artists/giuseppe-de-nittis_pt/
Datas do artista
1846 – 1884
Pintura a óleo
1875
Técnica
Oil On Canvas
Dimensões originais
55 x 114 cm
Movimento
Impressionism Painters working fast and outdoors to catch how light actually looked at one moment, rather than finishing smoothly in a studio.
Realizado em
Museu de Arte da Filadélfia originaluniqueart.com/pt/museums/museu-de-arte-da-filadelfia-filadelfia_pt/
Artistic style
Impressionist
Influences
Salon art, Impressionism
Notable elements
Bright colors, light & shadow
Subject or theme
Social scene, leisure

No contexto

Return from the Races — Giuseppe De Nittis

Qual é o tamanho?

As dimensões originais são 55 × 114 cm (altura × largura), representadas aqui ao lado de um adulto de altura média.

Quando foi pintado?

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

Linha acima: os anos. Linha abaixo: a idade do artista no início e no fim de cada período — 0 ao nascer, 38 ao falecer.

Pintado quando o artista tinha 29. O artista viveu até aos 38. 5 das 30 obras datadas deste artista em nosso catálogo são anteriores.

Sombreado: a trajetória de Giuseppe De Nittis (1846–1884) ▲ esta obra, 1875 cada pintura datada, década por década

Primeiras obras: até 1875 Principais anos de atividade: 1875–1881 Obras tardias: a partir de 1881

Essas três faixas dividem as obras datadas neste catálogo em um primeiro quarto, uma metade central e um último quarto. Elas não representam a produção completa do artista: um período de escassez pode ser uma lacuna no registro, em vez de um intervalo de baixa atividade. Os mesmos anos com a trajetória do artista neles traçada

Comparar com

Escolha uma obra acima: mencione duas semelhanças entre ela e esta, e uma diferença.

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Cores

Medido a partir da imagem

    Cor principal

    Espresso #3a251c

    Paleta catalogada

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

    Estas cores integradas em toda a paleta do artista Encontre outras pinturas por cor

    Paleta
    Neutrals A família de cores predominante na imagem.
    Nome da cor principal
    Espresso
    Intensidade
    Balanced O quão saturadas e variadas são as cores, desde um único tom suave até muitos tons vibrantes.
    Contraste
    Statement O grau de variação da luminosidade e saturação das cores ao longo da imagem.
    Harmonia
    Balanced Harmony A harmonia entre as cores, desde o contraste marcante até a total unidade.
    Brilho
    Brilliant O nível de luminosidade ou escuridão da imagem como um todo, desde as sombras profundas até os brilhos intensos.
    Saturação
    Subtle Color Quão puras e intensas são as cores, do quase cinza ao totalmente vívido.

    Onde no mundo esta pintura é apreciada?

    • menos de 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% ou mais
    Esta pintura sozinha possui poucos visitantes registrados para mapear, portanto, a placa apresenta todas as obras de Giuseppe De Nittis nos últimos doze meses — 7 países ao todo. Origem destes dados

    Os dez principais países

    1. 1 China 63,0%
    2. 2 Itália 15,2%
    3. 3 Reino Unido 6,5%
    4. 4 Estados Unidos da América 6,5%
    5. 5 França 4,3%
    6. 6 Israel 2,2%
    7. 7 Singapura 2,2%

    Encontre os três países mais escuros no mapa. O museu que guarda esta pintura está em algum deles? Escreva um motivo pelo qual pessoas de longe poderiam visitá-la.

    As 20 obras mais visualizadas de Giuseppe De Nittis

    1. 1 The Orange Kimono, 1883 12,7%
    2. 2 Nude with Red Stockings, 1879 7,3%
    3. 3 Twelve Studies of Vesuvius 5,5%
    4. 4 A Lady from Naples 5,5%
    5. 5 Doze Estudos do Vesúvio 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) - Giuseppe De Nittis, 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 Femme aux pompons (Woman with Pompoms) 1,8%
    19. 19 In the Forest 1,8%
    20. — Return from the Races, 1875 esta obra 0,0%

    Juntas, estas obras representam 79,9% de toda a atenção que as pinturas deste artista receberam nos últimos doze meses. O catálogo contém 66 obras deste artista, das quais 30 foram visualizadas pelo menos uma vez. Esta pintura ainda não foi visualizada neste período — ela encerra a lista sem uma classificação. Os mesmos números, mês a mês

    As barras medem a atenção, não a qualidade. Escolha a obra no topo e esta aqui: mencione um fator que poderia tornar uma pintura famosa para além da sua técnica de execução.

    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 e museu

    Artista

    Giuseppe De Nittis

    Nascido em Barletta, Itália

    Giuseppe De Nittis: Bridging Salon Art and Impressionism

    Giuseppe De Nittis (1846-1884) stands as a pivotal figure in Italian art history, representing a fascinating confluence of artistic movements—Salon painting and Impressionism—that profoundly shaped the landscape of 19th-century aesthetics. Born in Barletta, Puglia, Italy on February 25, 1846, De Nittis’s early life was marked by familial circumstances that instilled in him a spirit of independence and intellectual curiosity. His father, Raffaele, a wealthy landowner deeply committed to republican ideals, faced imprisonment for his outspoken opposition to the Bourbon monarchy—a formative experience that undoubtedly fueled De Nittis's own convictions.

    Early Artistic Training: De Nittis’s artistic journey commenced with instruction under Giovanni Battista Calò, a respected artist and pedagogue who nurtured talent within Barletta’s burgeoning art scene.

    Expulsion from Naples:

    The Macchiaioli Influence: Recognizing the importance of direct observation and capturing fleeting moments of light, De Nittis embraced the principles of the Macchiaioli movement—a group of artists who championed a revolutionary approach to painting, prioritizing expressive brushstrokes and tonal variations over meticulous detail.

    Parisian Engagement and Artistic Recognition

    In 1867, De Nittis relocated to Paris, establishing himself within the vibrant artistic milieu of the Belle Époque. This move proved instrumental in propelling his career forward, securing him a contract with Adolphe Goupil—a prominent art dealer who championed avant-garde artists and fostered connections within the Parisian art world. Immediately upon arriving in Paris, De Nittis immersed himself in the Salon circuit, gaining exposure to influential critics and collectors alike. His participation in the Salon of 1867 garnered considerable acclaim, solidifying his reputation as a skilled painter capable of capturing the essence of contemporary life.

    Impressionist Horizons

    The Salon of 1874 marked De Nittis’s pivotal encounter with Impressionism—a movement spearheaded by Edgar Degas and Claude Monet. Invited to exhibit at the inaugural Impressionist exhibition held at Nadar's studio, he forged a lasting bond with fellow artists who shared his dedication to portraying the immediacy of visual experience. This connection profoundly impacted De Nittis’s artistic style, encouraging him to adopt techniques reminiscent of Monet and Degas—namely, the use of loose brushstrokes and vibrant color palettes—to convey atmospheric conditions and subjective sensations.

    Pastoral Visions and Artistic Legacy

    De Nittis's artistic output extended beyond urban landscapes; he devoted considerable effort to depicting scenes from the Italian countryside—particularly Mount Vesuvius. His paintings of Vesuvius, imbued with a palpable sense of drama and emotion, exemplify his mastery of tonal modulation and expressive brushwork—characteristics that resonated deeply with Impressionist sensibilities. Furthermore, De Nittis’s exploration of pastel mediums—a medium he embraced in 1875—contributed to the development of a distinctive artistic vocabulary characterized by delicate textures and luminous hues.

    Recognition and Remembrance

    Throughout his career, De Nittis received numerous accolades for his artistic achievements. Notably, he was awarded a gold medal at the Exposition Universelle of 1878—a testament to his talent and dedication—and honored with Légion d’honneur by Napoleon III. His paintings continue to be housed in prestigious museums across Europe, including the Musée d'Orsay in Paris, bolstering his enduring legacy as one of Italy’s foremost Impressionist painters. Giuseppe De Nittis passed away unexpectedly on August 21, 1884, leaving behind a body of work that embodies the spirit of artistic innovation and remains captivating to this day.

    Museu

    Museu de Arte da Filadélfia

    Em exibição em Filadélfia, Estados Unidos da América

    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.

    Onde ler mais

    Encontre online

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

    Como citar esta obra

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

    Observe de perto

    Return from the Races — Giuseppe De Nittis

    Observe de perto

    Responda com suas próprias palavras. Não existem respostas erradas aqui — apenas respostas que você possa explicar.

    1. O que chama a sua atenção primeiro e por quê?
    2. Quais cores ou formas criam a atmosfera — e que atmosfera é essa?
    3. Quantos rostos você consegue encontrar? ____ (o nosso catálogo conta 6 — você concorda?)
    4. O nosso catálogo classifica esta obra sob: horse racing, leisure scene, 19th century. Concorda? O que acrescentaria ou removeria?
    5. Relembre On the Slopes of Vesuvius (III) - Giuseppe De Nittis (1872), apresentado anteriormente neste guia. Identifique dois elementos que esta obra compartilha com a anterior e um que seja diferente.

    Sua resposta

    Escreva um pequeno parágrafo sobre esta obra de arte. Utilize as informações das etapas anteriores deste guia e as suas respostas acima.

    Quiz de arte

    Return from the Races — Giuseppe De Nittis

    O quanto você conhece esta obra de arte?

    Selecione uma resposta para cada uma das 5 perguntas abaixo. Cada uma possui exatamente uma resposta correta.

    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

    Minha pontuação: ____ de 5

    Gabarito — para o professor

    Isto inicia uma nova página impressa, de modo que ela pode simplesmente ser omitida das cópias.

    1A · 2A · 3B · 4A · 5B

    Confira qualquer resposta comparando com o registro do catálogo desta pintura

    Perguntas e Respostas

    Qual é a técnica e as dimensões de "Return from the Races", de Giuseppe De Nittis?

    A técnica de "Return from the Races", de Giuseppe De Nittis é Oil On Canvas, e suas dimensões registradas são 55 x 114 cm.

    "Return from the Races", de Giuseppe De Nittis é uma obra de tons claros ou escuros?

    "Return from the Races" apresenta um brilho geral de brilliant, com uma luminância de Bright Balance.

    Que tom emocional acompanha o estilo Impressionism de "Return from the Races"?

    A emoção Tranquil de "Return from the Races" acompanha seu estilo Impressionism.