Federico Zandomeneghi

Angelo Sommaruga, Paris
Luigi Bordoli, Milan; thence by descent to the present owner

Milan, Fondazione A. Mazzotta, Federico Zandomeneghi. Impressionista veneziano, 2004, no. 53

Enrico Piceni, Zandomeneghi, Milan, 1967, no. 144, catalogued, pl. 16, illustrated
Federico Zandomeneghi, Milan, 1988, exh. cat., p. 68, illustrated

Pastel on paper, behind glass. Not examined out of its frame, the sheet appears in good condition, with no visible damage. The colours are strong and vibrant. Overall this work is in good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Zandomeneghi visited Paris in 1874 intending to stay only briefly, but was captivated by the city's vitality and remained there for the rest of his life. At first, Zandomeneghi found it difficult to establish himself in Paris's competitive art market, until he was introduced by Edgar Degas to the Parisian art dealer and promoter of the Impressionists, Paul Durand-Ruel. Their meeting marked the beginning of Zandomeneghi's Impressionistic style, which became characterised by cropped and intimate compositions, and the development of a more luminous palette, as in the present work. In 1879, Zandomeneghi participated in the fourth Impressionist exhibition in Rue de l'Opéra, with his portrait of friend and fellow countryman Diego Martelli. Thereafter he exhibited in the fifth, sixth, eighth and final Impressionist exhibitions of 1880, 1881 and 1886 respectively.

After 1880 Zandomeneghi dedicated himself entirely to pastel. He adopted luminous, contrasting colours, and his work increasingly shared affinities with the work of Mary Cassatt, Degas and Renoir. His compositions began to concentrate on idealised images of young women, either in the park, sitting room or boudoir surrounded by simple objects found in their daily life. Contrary to works by other Impressionist artists depicting the bourgeoisie at the theatre and opera, which focus on the vibrancy and social hustle and bustle surrounding such an event, Zandomeneghi in the present work focuses entirely on the woman getting ready to go out. Through the cropping of the composition he imbues the painting with a sense of intimacy, serenity and subtle sensuality that are hallmarks of his style. Also typical are the intricate, luminous colour combinations and vibrant textures, which earned the artist the nickname of Le Vénetien among fellow artists.