Attributed to Giuseppe Palizzi - Lake Avernus

The work can be defined as a genre scene, that is, the depiction of an episode of everyday life that, apparently, lacks any significant element. These types of domestic subjects were long considered minor and only began to spread in Western art starting in the 17th century. Only with the development of 19th-century realism did everyday subjects become considered as important as historical or religious ones. The Palizzi brothers are highly popular artists for their excellent production of animal portraits and, at least, genre scenes with a rural and pastoral dimension. The work in question is attributed to Giuseppe Palizzi.

The Palizzi brothers are renowned as the creators of an extraordinary 19th-century school of veristic painting. Their genre scenes are distinguished by remarkable refinement of execution, capable of reaching the highest levels of naturalism. Among others, Giuseppe Palizzi specialized in animal depictions, executed with great attention to detail. This canvas is a perfect example of the pictorial quality of the Palizzi brothers, and specifically Giuseppe. The painter succeeds in creating an image of perfect and accomplished naturalism. This is evident especially in the definition of the landscape, the lush vegetation, and the excellent use of light, which measures the space. This is true even though Giuseppe Palizzi sometimes seems to favor a more synthetic, patchy approach, as can be seen especially in the definition of the common people, in keeping with the veristic poetics that characterize the entire school of painting of this family of artists. As is typical in the Palizzi brothers' work, the light spreads throughout the scene, warm and radiant.

Giuseppe Palizzi, whose signature is on the canvas, was born in Lanciano in 1812 and died in Paris in 1888. He trained in Naples, where he also had contact with the Posillipo School. He presented historical landscapes at the Bourbon Biennial Exhibitions, but difficult relations with the academic world led him to leave Italy, moving to Paris in 1844. He settled permanently in Bourron-Marlotte near the forest of Fontainebleau, which became the favorite subject of his veristic painting, which also matured thanks to his contact with the Barbizon School.

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