Giacomo Ceruti between misery and nobility
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Washerwoman (1720 - about 1725) by Giacomo Ceruti known as PitocchettoFondazione Brescia Musei
Giacomo Ceruti, The Laundress, ca. 1725
Giacomo Ceruti was an Italian painter and one of the most influential artists of 18th-century Europe. He worked between Milan, Brescia and Venice and his production stands out for the variety of subjects portrayed.
From the poorest and humblest of people, depicted with vivid realism, to the portraits of noble families and upper middle class subjects, which were more in keeping with international taste. Forgotten soon after his death, he was rediscovered only in the early 20th century thanks to the painting “Lavandaia” (The Laundress).
This work was selected for the 1922 “Exhibition of 17th and 18th century Italian Painting” in Florence, where it was noted by art historian Roberto Longhi. This event marked the rediscovery of Ceruti and the importance of his legacy for Italy’s historical-artistic panorama.
In this painting, Giacomo Ceruti captures a scene of everyday life. In the centre, a woman seems to gaze at us as she momentarily diverts her attention from her washing. Behind her, a young boy slowly crosses the courtyard with laundry hanging from a stick on his right shoulder.
The scene is set within a domestic context that conjures images of the farmsteads nestled in the southern area of Brescia.
A botanical frame unfolds in the lower part of the painting, a characteristic feature of Ceruti's artistic repertoire in Brescia. With their grey and ochre tones, the colours are for the most part dull and cold.
The ordinary and quiet scene is dominated by the laundress. Her weary yet dignified gaze evokes contrasting emotions in the viewer. Her presence is emphasised by the vibrant colours of her dress: brilliant shades of light blue, red and yellow, creating a striking juxtaposition against the subdued, earthy tones of the background.
The little Porter (1730 - about 1734) by Giacomo Ceruti known as PitocchettoFondazione Brescia Musei
Giacomo Ceruti, The Basket Carrier, ca. 1725
The “Portarolo” (The Basket Carrier) presents an authentic image of the reality of the time. Harmoniously integrated into the surroundings, the subject, a young boy, wears modest, worn-out clothes and carries a basket containing eggs and a folded sheet on his shoulders.
Working Women (1720 - about 1725) by Giacomo Ceruti known as PitocchettoFondazione Brescia Musei
Giacomo Ceruti, Sewing School, ca. 1720-1725
The “Scuola di cucito” (Sewing School) belongs to the “Padernello Cycle”, a series of Brescian artworks by Giacomo Ceruti that captures the lives of the humble. This canvas, in particular, focuses on female labour and education, two prevalent themes of his time.
In this painting, Ceruti depicts a group of women of different ages engrossed in the art of sewing in a bare room. Like a snapshot, the artist captures a moment in the daily lives of these characters immersed in their domestic duties. Two young girls momentarily seem to divert their gaze to meet the viewer’s eyes.
In the foreground, the oldest woman of the group is teaching a young girl to read. The meticulous rendering of the hands, deftly working needle and thread, and the finger pointing at the text, imbue the scene with a palpable naturalness.
Spinner (1730 - about 1734) by Giacomo Ceruti known as PitocchettoFondazione Brescia Musei
Giacomo Ceruti, The Spinner, ca. 1730-1733
“La Filatrice” (The Spinner) also belongs to the “Padernello Cycle”. Set against a dark background, a young woman, with a distaff under her arm and the spindle cradled between her fingers, momentarily rests her weary hands on her knees, directing her gaze towards the observer.
The worn and frayed nature of her clothing serves as a marker of her wretchedness, yet the overall scene also communicates a profound sense of dignity.
Portrait of Young Gentleman (about 1760) by Giacomo Ceruti known as PitocchettoFondazione Brescia Musei
Giacomo Ceruti, Portrait of a young gentleman, 1760 ca.
This painting depicts a well-dressed young noble man, wearing an aqua green velvet tailcoat with golden embroidery. His face is very delicate, with almost feminine features, and although his look is elusive, it captures the observer’s attention completely.
The work is a clear example of how the artist tried to adhere to the international models he was exposed to during his stay in Venice. Such styles were distinctive for their bright colours and refined character.
The precious embroidery on the clothes and the hairstyle enable us to place the work in the later stages of the artist’s life. The horizontal curls and the grey Catogan wig, tied at the bottom with a black bow, are indeed typical of the 1760s.
Giacomo Ceruti, Portrait of Don Erasmo Aliprandi, 1740 ca.
The elegant portraits depict the Marquis Don Erasmo and his wife Laura Vitali, leading exponents of the Milanese nobility. Ceruti achieves outstanding results in the rendering of the protagonists’ costumes, facial features and psychological traits.
Giacomo Ceruti, Portrait of Laura Vitali Aliprandi, ca. 1740
The viewer is struck by the artist’s meticulous and masterful work of reproducing the golden embroidery on the tassels and frog closures decorating the Marquis’s silk tailcoat and the lace embellishing the noblewoman’s bodice.
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