This painting refers to the stays in Paris of De Nittis, a captivating episode of city life linked to the "glossy and luxurious world" of the upper bourgeois milieu rendered with lively expressive freshness, well exemplified in the Apulian painter's approach to those genre subjects that precisely in those years in Paris, and beyond, received acclaim from critics and the public. The Amazon, datable to the mid-seventies of the nineteenth century, is characterized by that "interior elegance" that allows the artist not to slip into a stuccoed sketch: almost imperceptible touches to make the veil that hides the face of the Amazon, slightly more frothy for the lace, embroidery and ruffles that decorate the clothes for the dog's fur. The artist does not miss the panoramic perspective that the Bois de Boulogne offers up to the Arc de Triomphe, down the Champs Elysées. The artist juxtaposes the strong color contrasts on the first floor, with the intention of enhancing them, with the golden and gray-blue tones of that quick perspective flight of the walk, made alive by smaller and smaller figures sketched up to the edge of the Arch. A way of breaking through the painting that recurs in many of his works and which gives them depth and breath.

The painting dates back to the second half of the 1860s, to that moment of Fattori's pictorial production in which the Macchiaioli experience refers to the poetic and human world of the artist. Subjects similar to the one depicted here are repeated with variations until the end of the Eighties: we recall Bovi al carro of 1867, Maremma Toscana of about 1880, up to Rest of about 1887. chromatic spreads placed in perspective sequence: from the brown-green of the pavement and the vegetation in the foreground, within which the white "spot" of the oxen is included, to the blue of the Arno in the intermediate floor; from the greens of the trees beyond the river, to the gray profile of the mountains that detaches from the clear background of the sky. The landscape is thus created through the combination of chromatic fields, enhanced by a contour line, deliberately superimposed on the color in the central area of the painting. The work appears permeated by an impression of calm and silence, conferred by the extreme chromatic synthesis that orders and constructs the forms.

The painting was exhibited at the exhibition dedicated to the collections of the Frugone brothers in the Palazzo Bianco in 1938. Here the preference for orientalist themes is evident, as evidenced by the choice of the subject, comparable to the series of girls in the harem or to the various odalisques depicted in paintings such as The Turkish Bath and A Woman of the Oda, both from 1876, or in the pen drawing Odalisque. The small figure lying on the orange carpet (a color very dear to the artist) is outlined by a summary line that summarizes the lights, shadows and outlines. The strongly emotional impact, desired by the painter, is also achieved through the chromatic choices, such as the white of the sheet that wraps the girl, further enhanced by the complementarity of the blue of the cushion and the orange of the background.

Gold medal at the Boston Exposition of 1890, the year to which its execution can be traced back, the painting, also remembered under the title Notissie Nove and Reading the newspaper, depicts a young woman sitting while sipping a cup of coffee , during a break from reading the Gazzettino of Venice. It is a female portrait set with great skill and elegance, which seems to underline the independent character of the character. It is a happy representation of a scene of everyday life, bourgeois and elegant, built with taste and refinement also thanks to the skilful use of color contrasts (the white of the newspaper, the dark colors of the dress, the lively color of the bow). The work depicts two themes of the painting of the time, a portrait and a view, that of Venice, which is outlined beyond the window, at the bottom of the painting.

Dated by the author November 17, 1904, Autumn is one of the numerous tablets depicting landscapes in the Biella area made by the artist directly from life, preferably during the autumn or spring season. Also in the landscape depicted here Delleani renews his taste for a thick and dense color paste, which can be worked with the brush to give relief to the shapes (in this case the clouds), or to be almost engraved, using the tip of the pencil on the fresh color, until you get grooves (which here become tree branches against the light).

Exposed to the artist's individual exhibition organized by the Venice Biennale in 1909, together with Porta di Moschea in Brussa and Porta rossa in Anatolia from the collection of Lazzaro G. B., the painting, dated 1869, is part of the series of studies carried out by the artist in Constantinople between 1867 and 1869.In fact, it depicts some sailing ships flying the Turkish flag taken on the Bosphorus strait and brought back to the canvas with a more concise technique than the meticulous one of other studies carried out by the painter. The boats, their reflection on the water, the lively intersection of the trees, the tie rods of the gathered sails and the rope ladders, create an animated vision that stands out against the background of the city, summarized in its profile, and the light of the sky . The main element is the light that seems to break up the color and turn it on in the details of the red Turkish flags moved by the wind.

The painting was purchased by Luigi Frugone from Mrs. Campeggi (a woman known in the art market), thanks to the mediation of Ferruccio Stefani, in 1925.The subject represented is very frequent in Fontanesi's production: an isolated and central figure in a landscape full of solicitations emotional, typical elements of that dialogue between the human figure and nature that the painter faced with happy results throughout his artistic career. Both the subject and the modes of representation recall the pictorial experiences of French landscape painters, such as Costantin Troyon, Camille Corot and Charles Daubigny, known by the artist through the art dealer Victor Branchard and during the stays in Paris that began with a visit to the Universal Exhibition of 1855.

Coming from the Genoese collection of Giuseppe Bertollo's heirs auctioned at the Scopinich Gallery in Milan in May 1928 and included in the volume relating to the collection of Luigi Frugone drawn up by Enrico Somarè in 1936, the painting, signed and dated 1874, faces a pleasant female subject in neo-eighteenth-century terms, according to modalities and suggestions offered to the artist perhaps by his stay in Paris in 1866, during which he had the opportunity to get to know the work of two virtuosos of the brush, Mariano Fortuny and Jean-Louis Meissonier. In The Painter, the intensity of the light that illuminates the scene serves to bring out the almost miniaturistic preciousness of the details, resolved in enameled colors with an approach that recalls the style of the painter Giuseppe Bertini, Bianchi's master. There is probably a contemporary but more sketchy version of this painting, belonging to a private collection, in which the features of Carolina Marignani, wife of the artist, have been recognized; instead, a watercolor refers to 1872, already in a Milanese private collection, considered a first idea for this canvas. The museum preserves two other paintings on wood by Mosè Bianchi, belonging to the legate of Lazzaro G.B. Frugone: Barca a Chioggia and Vecchia Milano, both dating back to the mid-1980s.

The portrait, with a lively and casual air, is characterized by a shot that captures the elegant young woman (perhaps identifiable with an actress of the Comedie Française, Marie Jeanne Bellon, known as Miss Bell) from top to bottom: the composition is rebalanced by the spiral movement of the rustling clothes, which, together with the quick and synthetic "strokes" of the brush, gives airiness and momentum to the whole. The contrast between the black color of the bow and the hair, the luminous whiteness of the décolleté, the iridescent red of the dress contributes to giving the painting, still today, a very strong emotional impact, so much so as to make it, spontaneously, the symbolic image of the Collections Frugone. The work, signed and dated 1903, was bought by Luigi Frugone in 1926, by the merchant Ferruccio Stefani. In one letter, the collector does not hide his enthusiasm for the possession of the painting, for which he uses the adjective "unsurpassable". The painting was actually intended for the Marquise Matilde Giustiniani Pallavicini Durazzo of Genoa, who wanted to start a collection of modern art. But Stefani did not give up proposing it to Luigi, due to the friendly and privileged relationship she had established with the industrialist, and sold it to him for 130,000 lire. In 1932, at the XVIII Venice Biennale, on the occasion of the retrospective dedicated to Giovanni Boldini, Miss Bell was exhibited with the explicit indication of Luigi's ownership.

The Pastorella al monte delle Raccolte Frugone sees the protagonist together with a group of sheep and two dogs, in a wide-ranging natural space, created through a touch painting that becomes a tool to bring the perception of reality back onto the canvas. The canvas is an example of how the long French stay in Giuseppe Palizzi's painting favored an interest in truth, understood above all as "perception". If, while maintaining a common interest in the choice of subject, his brother Filippo's painting is more oriented towards an objective reproduction of the truth, in his paintings Giuseppe looks more to the overall appearance than to the description of the details. The painting can be placed chronologically among the works of late production, in which the painting, freer, looser and more luminous, seems to be moved by impressionist solicitations.

The sketch is a preparatory study for the homonymous painting exhibited by Signorini at the Florentine Promoter of 1860, purchased on that occasion by the Prince of Carignano and now preserved in Valdagno in the Gaetano Marzotto Collection. The preparatory sketch of the Frugone Collections, datable therefore to 1859, can be considered the result of the experiences and emotions directed and recorded directly by the painter on the places of the events: like other artists linked to the painting of stains, in fact, Signorini participated in the Risorgimento wars and enlisted as a volunteer in 1859. In it, as in the finished painting, in addition to the vigor and immediacy of the life shot, there is a very clear general intonation, determined by the "spotted" drafting with which the artist constructs the white architectures, the blue of the sky illuminated by white clouds, the green of the landscape on the horizon. The dark colors that gather in the foreground define the masses of the soldiers and the shadows, in contrast with the sunny pavement.