Daniele Ranzoni, zugeschrieben 1843 Intra - 1889 ebenda Portrait of a young woman Signed lower left. Inscribed on remnants of an old adhesive label verso. Oil study auf thin cardboard, mounted on panel. 37 x 27.7 cm. Restored. Minor damage. Minor damage to frame (62 x 52 cm). Fotoexpertise Enrico Somaré, Mailand, 22. Mai 1944 (im Original vorliegend).
Daniele Ranzoni, born Dec. 3, 1843, in Intra, on Lake Maggiore, to Francesco and Elisabetta Franzosini, was the fourth of six children in a humble family. From a young age, he showed an early artistic inclination, which led some local gentlemen to finance his drawing studies with painter Luigi Litta from 1853 to 1856. He then continued his education at the Royal Brera Academy in Milan under Giuseppe Sogni and later in Turin at the Albertina Academy. His real artistic training was consolidated at Brera, where from 1860 he was a pupil of Giuseppe Bertini, who fostered his graphic flair and introduced him to color experimentation. Despite his artistic success, Ranzoni experienced a bitter detachment from his family, suffering from hypochondriac disorders and frequent headaches from his younger years. In 1864, Ranzoni returned to Intra and immersed himself in the local aristocracy, becoming an active member of the Harmony Circle along with the photographer painter Giacomo Imperatori. He painted family portraits, frescoes for churches and signs for taverns. His photographic experience influenced his way of framing landscapes and exploring the duality between the real and the invisible. In 1868, affected by flooding events, Ranzoni returned to Milan, where he came into contact with artists such as Tranquillo Cremona, Giuseppe Grandi, Medardo Rosso, Emilio Longoni, Filippo Carcano, and Mosè Bianchi. He joined the bohemian 'scapigliata,' sharing aesthetic perspectives and Risorgimento ideals. His reputation grew, and he became known as an outstanding portraitist, portraying members of high society, including the Greppi family. His association with Princess Ada Troubetzkoy, whom he portrayed several times between 1871 and 1875, contributed to his fame. He collaborated with Pyotr Troubetzkoy in designing the garden of the villa in Ghiffa and became a respected member of the aristocratic circle, frequented by intellectuals and artists. However, his fortunes came to an abrupt halt with unfortunate events, including suspicions about his relationship with the princess, Pyotr Troubetzkoy's financial ruin, and Eugene Francfort's suicide. On the advice of Mervyn Bradford Medlycott, Ranzoni went to England in 1877, where he achieved success but not critical recognition. He returned to Milan in 1879 disappointed but financially stable. In 1880, Ranzoni experienced a period of maximum creativity, portraying numerous members of high society. However, his life took a turn for the worse with the decline of his romantic relationships, failure in England, and mental disorders that afflicted him between 1882 and 1885. Despite a brief period of success in Brissago in 1885-1886, his last artistic phase was marked by loneliness and poignant nostalgia. He died on October 29, 1889 in Intra, two months before his mother's death. His life and artistic career reflected the nuances of the society and culture of the time, from the bohemian scapigliata to the tensions of high life. Ranzoni is remembered as an outstanding portrait painter, capable of capturing the psychology of his subjects with intensity and modernity. | (FR) Daniele Ranzoni, né le 3 décembre 1843 à Intra, sur le lac Majeur, de Francesco et Elisabetta Franzosini, est le quatrième des six enfants d'une famille modeste. Dès son plus jeune âge, il fait preuve d'un penchant artistique précoce, ce qui incite des gentilshommes de la région à financer ses études de dessin auprès du peintre Luigi Litta, de 1853 à 1856. Il poursuit ensuite sa formation à la Regia Accademia di Brera de Milan, sous la direction de Giuseppe Sogni, puis à l'Accademia Albertina de Turin. Sa véritable formation artistique est consolidée à Brera où, à partir de 1860, il est l'élève de Giuseppe Bertini, qui favorise son sens du graphisme et l'initie à l'expérimentation des couleurs. Malgré ses succès artistiques, Ranzoni se détache amèrement de sa famille, souffrant de troubles hypocondriaques et de fréquents maux de tête dès son plus jeune âge. En 1864, Ranzoni retourne à Intra et s'immerge dans l'aristocratie locale, devenant un membre actif du Circolo dell'armonia avec le peintre photographe Giacomo Imperatori. Il peint des portraits de famille, des fresques pour des églises et des enseignes pour des tavernes. Son expérience photographique a influencé sa façon de cadrer les paysages et d'explorer la dualité entre le réel et l'invisible. En 1868, touché par les inondations, Ranzoni retourne à Milan, où il entre en contact avec des artistes tels que Tranquillo Cremona, Giuseppe Grandi, Medardo Rosso, Emilio Longoni, Filippo Carcano et Mosè Bianchi. Il rejoint la "scapigliata" bohème, partageant les perspectives esthétiques et les idéaux du Risorgimento. Sa réputation grandit et il devient un portraitiste exceptionnel, représentant les membres de la haute société, y compris la famille Greppi. Son association avec la princesse Ada Troubetzkoy, qu'il portraiture à plusieurs reprises entre 1871 et 1875, contribue à sa renommée. Il collabore avec Pyotr Troubetzkoy à la conception du jardin de la villa de Ghiffa et devient un membre respecté du cercle aristocratique, fréquenté par des intellectuels et des artistes. Cependant, sa fortune est brusquement interrompue par des événements malheureux, notamment les soupçons qui pèsent sur sa relation avec la princesse, la ruine financière de Pyotr Troubetzkoy et le suicide d'Eugène Francfort. Sur les conseils de Mervyn Bradford Medlycott, Ranzoni se rend en Angleterre en 1877, où il connaît le succès mais pas la reconnaissance de la critique. Il retourne à Milan en 1879, déçu mais financièrement stable. En 1880, Ranzoni connaît une période de créativité maximale, faisant le portrait de nombreux membres de la haute société. Cependant, sa vie prend une tournure négative avec le déclin de ses relations amoureuses, son échec en Angleterre et les troubles mentaux qui l'affectent entre 1882 et 1885. Malgré une brève période de succès à Brissago en 1885-1886, sa dernière phase artistique est marquée par la solitude et une nostalgie poignante. Il meurt le 29 octobre 1889 à Intra, deux mois avant le décès de sa mère. Sa vie et sa carrière artistique reflètent les nuances de la société et de la culture de l'époque, de la scapigliata bohème aux tensions de la haute société. Ranzoni est considéré comme un portraitiste exceptionnel, capable de saisir la psychologie de ses sujets avec intensité et modernité.
Daniele Ranzoni, zugeschrieben 1843 Intra - 1889 ebenda Portrait of a young woman Signed lower left. Inscribed on remnants of an old adhesive label verso. Oil study auf thin cardboard, mounted on panel. 37 x 27.7 cm. Restored. Minor damage. Minor damage to frame (62 x 52 cm). Fotoexpertise Enrico Somaré, Mailand, 22. Mai 1944 (im Original vorliegend).
(Intra 1843 - 1889) "Ritratto della signora Cobianchi" olio su tela (cm 73x56) Reca tracce di firma in basso a sinistra Al retro: cartiglio Esposizioni XV Esposizione Internazionale d'Arte di Venezia 1926
RANZONI DANIELE (1843-1889) Daniele Ranzoni (Intra 1843 - Intra 1889) olio su tela raff.bambina con fiocco rosa firmato in basso a sinistra: Ranzoni Dimensioni: cm 100x72
RANZONI Daniele (1843 - 1889) Huile sur toile "Elégante au voile et à la couronne de fleurs". Signé en bas à gauche Ranzoni. Ecole italienne. Dim.:+/-74x59cm.
(Intra 1843 - 1889) "Donna che legge" 1862 olio su tela (cm 61,5x50) Firmato e datato in basso a destra Al retro: cartiglio In cornice Esposizioni 1936, Daniele Ranzoni, Galleria Trieste
Daniele Ranzoni (Intra (NO) 1843 - 1889) DANTE E BEATRICE olio su cartoncino, cm 25,5x15 firmato sul retro: iscritto "Dono della cognata di Ranzoni al sottoscritto. A. Tosi, 1918" Provenienza Famiglia Ranzoni, Intra Annetta Ranzoni, Intra Collezione Arturo Tosi, Rovetta Collezione privata Bibliografia A.P. Quinsac, Daniele Ranzoni. Catalogo ragionato dei dipinti e dei disegni, Milano 1997, tav.46
Portrait of young man, in a painted oval signed and dated 'RANZONI/1872' (centre left), oil on canvas, framed as an oval 68.5 x 60.5cm (26 15/16 x 23 13/16in).
Portrait of young man, in a painted oval signed and dated 'RANZONI/1872' (centre left), oil on canvas, framed as an oval 68.5 x 60.5cm (26 15/16 x 23 13/16in).
RITRATTO DI GIOVANE RAGAZZA cm. 69.5 x 53 olio su tela, entro ovale dipinto Eseguito nel 1865 circa PROVENANCE Maddalena Patrosso, Intra LITERATURE A.P. Quinsac, Daniele Ranzoni, Catalogo ragionato dei dipinti e dei disegni, Milano 1997, pag. 75, n. 59, illustrato in bianco e nero NOTE Reca sul retro della tela il n. 79 Reca sul retro del telaio il n. 219 S Il dipinto, databile intorno al 1865, risulta innovativo rispetto ai ritratti svolti dal Ranzoni negli anni precedenti. L'impostazione della figura di tre quarti, su fondo ovale, accentua la grazia signorile della giovane ragazza e costituisce una soluzione compositiva decisamente più matura delle precedenti che si limitavano al carattere di presa diretta sul reale. Il ritratto presenta, inoltre, un notevole schiarimento della tavolozza e una minuziosa attenzione ai particolari del vestito e dei gioielli che conferiscono alla ragazza un senso di realtà. Una certa gracile eleganza permea la dolce espressione del viso e il portamento della giovane donna.
a pair, both signed and dated 1878 l.r., oil on canvas each 59 by 44 cm.; 23 by 17 1/2 in. (2) These portraits were probably executed during the artist's sojourn in England between 1877-79.
