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Palazzo Coronini Cronberg Foundation verified

Gorizia, Friuli-Venezia Giulia, Italy closed Visit museumarrow_right_alt

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Antonio Joli - The royal procession of Piedigrotta seen from the west
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Antonio Joli - The royal procession of Piedigrotta seen from the east
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Antonio Zona - Portrait of Louise Loy Smart
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John Riley - Portrait of Louis Dufort-Duras Earl of Feversham
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King David and the water carriers, Solomon and the Queen of Sheba
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Utagawa Hiroshige - Night snow in Kambara
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Jan Saenredam da Hendrick Goltzius - Mario Furio Camillo arrives in Rome to negotiate with the Gauls
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Giovanni Britto o Nicolò Boldrini da Tiziano Vecellio - Mystical marriage of Saint Catherine
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Rosalba Carriera - Madonna
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Ferdinand Georg Waldmüller - Prayer before the storm
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Giuseppe Ceracchi - Portrait of Napoleon Bonaparte
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Bertel Thorvaldsen - Portrait of Michele Coronini Cronberg
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Pair of glasses
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Andreas Ferdinand Spiegel - Spoil
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Shelf clock
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Pair of cafes
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Martin-Guillaume Biennais - Pair of salt cellars
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Pitcher and sugar bowl
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Spring
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Luca Pacioli - About the game of chess
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Pierre Philippe Thomire - Shelf clock
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Desk service
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Shotgun
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Cup with saucer
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Franz Xaver Messerschmidt - The man who looks at the sun
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Franz Xaver Messerschmidt - The sneeze
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Bureau-cabinet
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Spoil
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Wedding fan
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Edouard De Beaumon - Folding fan
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Dress with tailcoat, breeches and waistcoat
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Cup with saucer
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Glass
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Pauline Ducruet Augustin; Jean-Baptiste Fossin - Bracelet with miniature portrait of Count Edwin de Fagan
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Soup bowl
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Etagère with mirror
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Francesco Caucig - The Visitation
Antonio Joli - The royal procession of Piedigrotta seen from the west
Antonio Joli - The royal procession of Piedigrotta seen from the east
Antonio Zona - Portrait of Louise Loy Smart
John Riley - Portrait of Louis Dufort-Duras Earl of Feversham
King David and the water carriers, Solomon and the Queen of Sheba
Utagawa Hiroshige - Night snow in Kambara
Jan Saenredam da Hendrick Goltzius - Mario Furio Camillo arrives in Rome to negotiate with the Gauls
Giovanni Britto o Nicolò Boldrini da Tiziano Vecellio - Mystical marriage of Saint Catherine
Rosalba Carriera - Madonna
Ferdinand Georg Waldmüller - Prayer before the storm
Giuseppe Ceracchi - Portrait of Napoleon Bonaparte
Bertel Thorvaldsen - Portrait of Michele Coronini Cronberg
Pair of glasses
Andreas Ferdinand Spiegel - Spoil
Shelf clock
Pair of cafes
Martin-Guillaume Biennais - Pair of salt cellars
Pitcher and sugar bowl
Spring
Luca Pacioli - About the game of chess
Pierre Philippe Thomire - Shelf clock
Desk service
Shotgun
Cup with saucer
Franz Xaver Messerschmidt - The man who looks at the sun
Franz Xaver Messerschmidt - The sneeze
Bureau-cabinet
Spoil
Wedding fan
Edouard De Beaumon - Folding fan
Dress with tailcoat, breeches and waistcoat
Cup with saucer
Glass
Pauline Ducruet Augustin; Jean-Baptiste Fossin - Bracelet with miniature portrait of Count Edwin de Fagan
Soup bowl
Etagère with mirror
Francesco Caucig - The Visitation

Other works on display

Description

Louise Loy Smart (1810-1888), sister of Guglielmo Coronini's maternal great-grandmother, Elisabetta, was born in Trieste and was the daughter of Giuseppe Loy and Giustina Pittoni de Dannenfels. From the marriage with Thomas Smart (1789-1869), celebrated in 1827, Luisa had eight children, two boys and six girls, of whom four died prematurely and only two lived to an old age, Guglielmina (1827-1906) and Ada (1837 -1912). The portrait inherited to the Coroninis in 1912, on the death of Ada, the last of the Smart family, can be dated between 1850 and 1855, as suggested by both the age of the woman, already mature but not yet faded, and the characters of the dress that, according to mid-century fashion, gains breadth with the crinoline and corrects the severity of black with the flirtatious touch of the soft lace underarms and the light profile accompanying the neckline. Even if it were not signed, the painting would immediately make one think of Antonio Zona, a portraitist characterized precisely by the ability to emphasize the sweetness of soul that Louise Loy expresses and, in general, good feelings. Born in Gambarare di Mira in 1814 and trained at the Venice Academy, he had contact with Trieste from the very beginning. His painting is the result of a great technical preparation gained in a context of profound transformations and harsh confrontations between conservators and realists. In the end he remained faithful to a late-romantic vision, respectful of the great tradition and attentive to the motions of the heart. Languid and sometimes sweetish poses easily meet the taste of the public and, although he, in many respects, appears to be a follower of Hayez, he is unable to match him in the expressive power of his portraits.

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