The Roman landscape painter Nino Costa was one of the most international Italian painters of his time and an inspiration to compatriots and non-Italian artists alike. This first monograph on him provides valuable insights into his life, his poetic art, and the seminal role he played at the center of a lively international network of artists.
Dissatisfied with the traditional approaches of Italian academic painters, Costa turned to the international artist community of his native Rome for inspiration. At first, Costa looked to the painters following Jean-Baptiste Corot's poetic approach to realism and then further developed his art working in close contact with English colleagues such as George Mason and Frederic Leighton. A patriot as well as a painter, Costa fought for both the unification of Italy and for a reinvigorated art that appropriately represented his homeland. Alongside his call for a new approach to national art, Costa continued to develop his own artistic practice within a cosmopolitan circle.
As well as tracing the history of Costa's life, this monograph pays particular attention to the cultural contexts of his French, Swiss, German, Italian and English colleagues, an approach that underscores his role as a transnational artist and a catalyst for change in nineteenth-century European landscape painting.
Table of Contents
Acknowledgements
Introduction: Nino Costa – a cosmopolitan artist
I. Aspects of Costa’s life and work and the international context
- Nino Costa and the events leading to the unification of Italy in 1870
- Biography
Childhood and artistic formation 1826–1859
New impressions and back to arms 1859–1870
Rome – Returning to the new capital 1870–1885
The last decades 1885–1903
- Transnational exchange in Rome and an idealist approach to nature
- Nino Costa and the basis of his art
Women Loading Wood on Boats at Porto d’Anzio
Women Stealing Wood on the Shore near Ardea
A Scirocco Day on the Sea Coast near Rome
- A view on the concept of realism
II. Costa and the legacy of French landscape painting
- Encounters with French and Swiss artists
- French ideal realism as a source of inspiration
III. Nino Costa and the German world
- Roman encounters with German art
- Nino Costa and the German art market
IV. The appeal of Great Britain and the lure of Italy
- Landscape painting in Britain in the wake of Aestheticism
- A close connection – Costa and his English friends
Charles Coleman
George Heming Mason
Frederic, Lord Leighton
William Blake Richmond
George James Howard, 9th Earl of Carlisle
Matthew Ridley and Edith Corbet
- The Etruscan School of Art – transnational exchange and mutual learning
Italy seen with Etruscan eyes
Ut pictura poesis – English romantic poetry and Costa’s The First Smile of Morn
Learning from the Old Masters and technical experiments
Nino Costa and British audiences
V. Costa’s impact on the development of Italian art
- A source of inspiration to the Macchiaioli
Scientific progress, technical aids and the macchia
Costa’s Florentine production
- Costa’s cultural and artistic engagement between 1870 and 1903
Cultural debate in Italy and Costa’s criticism post-1870
The Italian Etruscans and In Arte Libertas
Costa’s mature production
Conclusion
Plates
Abbreviations & Archives
Bibliography
Index