Andrea Figari (1858-1945) stands as a notable figure in the landscape of late 19th and early 20th-century Italian art, particularly celebrated for his evocative marine paintings. Born in Sassari, Sardinia, and later establishing his career in Genoa, Figari dedicated his artistic endeavors to capturing the dynamic essence of the sea, its vessels, and the bustling life of Ligurian ports. Though perhaps not as globally renowned as some of his contemporaries, his work offers a profound insight into the maritime soul of his adopted region, rendered with a characteristic dramatic expressiveness. His legacy is primarily rooted in the Italian art scene, particularly in Genoa, where he was an active participant in its cultural life.
It is important to note at the outset that the name "Figari" can sometimes lead to confusion in art historical discourse, most notably with the distinguished Uruguayan painter, lawyer, and writer Pedro Figari (1861-1938). While both artists were contemporaries and shared a surname, their artistic paths, thematic concerns, and geographical focuses were largely distinct. This article will concentrate on the life and work of Andrea Figari, the Italian marine painter, while acknowledging such potential homonymic overlaps to ensure clarity.
Early Life and Artistic Formation in Genoa
Andrea Figari was born in Sassari, on the island of Sardinia, on November 30, 1858. While Sardinia possesses its own rich cultural and coastal heritage, Figari's artistic development would become inextricably linked with Genoa, the vibrant port city on the Italian mainland, where he eventually settled. This move to Liguria was pivotal, placing him in an environment steeped in maritime history and artistic tradition. The Ligurian coast, with its dramatic cliffs, bustling harbors, and ever-changing sea, would become the primary muse for his artistic output.
His formal artistic training took place at the prestigious Accademia Ligustica di Belle Arti in Genoa. This institution, with a long history dating back to 1751, was a central hub for artistic education in the region. During his studies, Figari had the significant opportunity to learn under Tammar Luxoro (1825-1899). Luxoro himself was an influential Genoese painter, known for his landscapes and his role as an educator. He was a proponent of painting en plein air (outdoors) and was associated with the Scuola Grigia (Grey School) of Ligurian landscape painting, which emphasized tonal subtleties and a realistic depiction of nature, often with a melancholic or poetic atmosphere. Luxoro's guidance likely instilled in Figari a deep appreciation for direct observation and the nuanced portrayal of natural light and atmosphere, elements crucial for a marine painter.
The artistic milieu of Genoa during Figari's formative years was dynamic. Italy, having achieved unification in the mid-19th century, was forging its national identity, and art played a role in this cultural construction. While movements like the Macchiaioli, with key figures such as Giovanni Fattori and Telemaco Signorini, had already made their mark further south in Tuscany with their revolutionary approach to light and form, regional schools like the one in Genoa continued to nurture local talent, often blending academic traditions with newer currents of Realism and an emerging sensitivity to Impressionistic light.
The Call of the Sea: Figari's Marine Specialization
Andrea Figari's artistic identity became firmly anchored in marine painting. His works are characterized by a profound engagement with the sea in all its moods – from tranquil harbor scenes to tempestuous oceanic expanses. This specialization was a natural fit for an artist based in Genoa, a city whose fortunes and identity have always been tied to the Mediterranean. The port of Genoa, one of Europe's busiest, offered a constant spectacle of ships, from humble fishing boats to grander vessels, providing endless subject matter.
His paintings are often described as possessing a "dramatic expressiveness." This suggests a style that went beyond mere topographical representation. Figari sought to convey the emotional impact of the sea, its power, its beauty, and sometimes its menace. This could be achieved through various artistic means: dynamic compositions, the vigorous handling of paint, a keen attention to the effects of light on water and sky, and the depiction of weather conditions that animate his scenes. He was particularly adept at portraying the interplay between the elements – water, air, and light – and the man-made structures and vessels that inhabited this maritime world.
The influence of his Ligurian family background, as mentioned in the provided notes, likely contributed to his intimate understanding and deep connection to the sea. This personal affinity would have translated into an authentic and heartfelt depiction of his chosen subjects. His canvases often explore themes of maritime labor, the solitude of the open sea, and the picturesque charm of coastal life.
Notable Works and Their Themes
Several works by Andrea Figari are cited as being particularly representative of his oeuvre, showcasing his thematic concerns and artistic skill.
La Grotta del Diavolo (The Devil's Cave): This painting, now housed in the Biblioteca Civica di Alessandria, likely depicts a dramatic coastal rock formation, a common feature along the Ligurian coastline. The title itself suggests a scene imbued with a sense of mystery or natural grandeur, perhaps a cave battered by waves, where light and shadow would play a crucial role in creating a powerful, almost Romantic, atmosphere. Such subjects allowed artists to explore the sublime power of nature.
Torna il sole (limoniere) (The Sun Returns (lemon trees/sellers)): This title evokes a more serene and hopeful scene. It could depict a coastal landscape, perhaps after a storm or on a bright morning, where the returning sunlight illuminates lemon groves or sellers, a characteristic feature of the Ligurian Riviera. The inclusion of "limoniere" points to a connection with local life and the region's agricultural produce, often found near the coast. This work suggests Figari's versatility in capturing different atmospheric conditions and moods.
Carbonili e porto di mattina (Coal and Port in the Morning): Exhibited in Rome, this painting would have focused on the industrial and commercial aspects of the port of Genoa. "Carbonili" refers to coal depots or areas where coal was handled, a vital fuel for steamships during that era. A morning scene would offer opportunities to depict the specific light conditions of early day, perhaps with mist rising from the water or the low sun casting long shadows, as the port awakens with activity. This work highlights Figari's interest in the working life of the harbor.
Spiaggetta (Little Beach): This piece, held in the Galleria d'Arte Moderna di Genova, suggests a more intimate and picturesque coastal scene. A "spiaggetta" is a small beach, often nestled between cliffs or within a cove. Such a subject would allow for a focus on the textures of sand, water, and rocks, and perhaps the depiction of local figures or fishing boats pulled ashore. Its presence in Genoa's modern art gallery underscores its recognized artistic merit.
These titles collectively paint a picture of an artist deeply immersed in the maritime environment of Liguria, capable of rendering its grandeur, its daily rhythms, and its atmospheric subtleties. His focus was not just on the sea itself, but on the human interaction with it, whether through labor, commerce, or simply existing alongside its powerful presence.
Exhibitions, Recognition, and Artistic Context
Andrea Figari was an active participant in the Genoese art world, regularly showcasing his work in local exhibitions. This consistent presence indicates a dedicated professional artist, engaged with his peers and the art-buying public of his city. The fact that his works were acquired by public institutions such as the Biblioteca Civica di Alessandria and the Galleria d'Arte Moderna di Genova during or after his lifetime speaks to the esteem in which he was held.
His artistic style, while rooted in the observational traditions fostered by teachers like Luxoro, likely evolved over his long career. Working from the late 19th century well into the mid-20th century, Figari would have witnessed significant shifts in the art world. While he remained primarily a landscape and marine painter, the broader European context saw the rise of Impressionism, Post-Impressionism, Symbolism, Fauvism, Cubism, and Futurism (the latter having a strong Italian presence with artists like Umberto Boccioni and Giacomo Balla).
It is not explicitly stated that Figari embraced these modernist movements directly in a radical way. Many Italian artists of his generation found ways to incorporate newer ideas about light and color, or a more subjective approach to representation, without entirely abandoning traditional skills and representational aims. His "dramatic expressiveness" might indicate an affinity with late Romantic sensibilities or a form of Realism that emphasized emotional content. The influence of Impressionism, particularly in the handling of light and atmosphere, is a plausible element in the work of a marine painter active during this period, even if not adopted wholesale.
Other Italian painters who were his contemporaries and also focused on landscape or scenes of daily life, albeit with different stylistic approaches, include Giovanni Segantini, a leading figure of Italian Divisionism, known for his luminous Alpine landscapes, and Gaetano Previati, another key Divisionist. While their techniques differed, the shared interest in capturing the effects of light was a common thread in much late 19th and early 20th-century painting. In the realm of marine painting specifically, artists like Pompeo Mariani were also active, capturing scenes of coastal life and the sea. Leonardo Bazzaro was another contemporary known for his Venetian scenes and landscapes.
The Figari Name: Navigating Potential Confusions
As an art historian, it's crucial to address the potential for confusion arising from artists sharing the same surname. The most prominent instance in this context is Pedro Figari (1861-1938). Born just a few years after Andrea, Pedro Figari was a highly influential figure in Uruguayan and Latin American art. His career was multifaceted; he was a lawyer, politician, journalist, and philosopher before dedicating himself fully to painting later in life.
Pedro Figari's artistic themes were vastly different from Andrea Figari's. He is renowned for his depictions of historical and everyday scenes of Uruguay and Argentina, particularly Creole traditions, Candombe dances of Afro-Uruguayan communities, gaucho life, and colonial-era interiors. His style, often characterized by a Post-Impressionist sensibility with vibrant colors, flattened perspectives, and a somewhat naive or folk-art quality, captured the cultural memory and identity of the Rio de la Plata region. He worked extensively in Montevideo, Buenos Aires, and Paris. Pedro Figari was also involved in art education, notably as director of the Escuela Nacional de Artes y Oficios in Montevideo. His exhibitions often featured artists from Latin America and Europe, such as those mentioned in the provided notes: (Alfredo) Del Prete, Raquel Forner, Carlos Mérida, the Mexican muralists José Clemente Orozco and Diego Rivera, and even Impressionist master Camille Pissarro, reflecting his international connections.
The provided information also mentions an "Andrea Figari" involved in legal and academic fields in a contemporary context, and an "Antonio Figari Bey," a 19th-century naturalist and geologist. These further illustrate how a shared surname can span different individuals across various fields and eras. For the purpose of this art historical account, the key distinction is between Andrea Figari, the Italian marine painter of Genoa, and Pedro Figari, the Uruguayan modernist. There is no indication in the reliable core data of a direct artistic collaboration or familial relationship (like father/son, as erroneously suggested in one part of the provided notes which also gave an incorrect birth year for Andrea) between Andrea Figari (1858-1945) and Pedro Figari (1861-1938).
The mention of an exhibition "FIGARI: MYTH AND CREATION" at the MNBA (Museo Nacional de Bellas Artes) in Argentina, featuring 30 oil paintings and watercolors, almost certainly refers to Pedro Figari, given his strong connections to Argentina and the thematic implications of "myth and creation" which align well with his explorations of cultural memory. Andrea Figari's sphere of recognition and exhibition appears to have been primarily Italian, particularly Ligurian.
Auction Records and Market Presence
The market for Andrea Figari's works, while perhaps more localized than that for internationally renowned figures, shows consistent activity, particularly within Italy. Auction records provide valuable insights into the appreciation and valuation of his paintings.
For instance, a work titled Veduta del porto di Genova (View of the Port of Genoa), an oil on canvas measuring 70 x 100 cm, was offered at Cambi Casa d'Aste in Genoa in 2006 with an estimate of €25,000 to €35,000. Another painting, Veduta costiera da Nervi (Coastal View from Nervi), also an oil on canvas (60 x 100 cm), was estimated at €30,000 to €40,000 in the same auction. Nervi is a coastal quarter of Genoa, famous for its seaside promenade and parks, a fitting subject for Figari.
A piece titled Barca nel mare in tempesta (Boat in a Stormy Sea), an oil on canvas (50 x 76 cm), was also auctioned, indicating his engagement with more dramatic and turbulent marine subjects. The recurrence of his works at Italian auction houses, especially those in Genoa like Cambi Casa d'Aste, underscores his regional importance and the continued interest from collectors of Italian 19th and 20th-century art, particularly those specializing in Ligurian painters or marine themes. The prices, while not reaching the heights of some of the era's avant-garde figures, are respectable and indicate a solid appreciation for his skill and artistic vision.
Later Life and Enduring Legacy
Andrea Figari continued to paint and live in Genoa throughout his life. He passed away in Genoa on November 20, 1945, at the age of 87. His long life spanned a period of immense social, political, and artistic change in Italy and across Europe. From the late echoes of Romanticism and the height of Realism, through the innovations of Impressionism and Post-Impressionism, to the rise of various Modernist movements and the turmoil of two World Wars, Figari remained dedicated to his chosen genre.
His legacy is that of a skilled and sensitive interpreter of the Ligurian maritime world. He contributed to a rich tradition of marine painting in Italy, a genre that has always held significance for a peninsula so defined by its relationship with the sea. Artists like Figari play a crucial role in documenting and celebrating regional identity, capturing the specific character of a place and its people. His works serve as historical records of the Genoese port and coastline during his time, but more importantly, they are artistic expressions that convey the enduring allure and power of the sea.
While he may not have been an avant-garde revolutionary, Andrea Figari's commitment to his craft, his ability to imbue his marine landscapes with "dramatic expressiveness," and his deep connection to his Ligurian environment secure his place as a significant regional artist. His paintings continue to be appreciated for their technical skill, their atmospheric qualities, and their heartfelt depiction of a world centered around the sea. He stands alongside other Italian artists who found profound inspiration in their local landscapes, such as the aforementioned Macchiaioli like Silvestro Lega in Tuscany, or later figures who, despite international currents, maintained strong regional roots. His teacher, Tammar Luxoro, and other Ligurian painters like Nicolò Barabino (though more known for historical and allegorical works) or Ernesto Rayper (a key figure in the Scuola Grigia), formed part of the artistic ecosystem that Figari inhabited and contributed to.
Conclusion
Andrea Figari (1858-1945) was an Italian painter whose artistic journey was deeply intertwined with the city of Genoa and the Ligurian Sea. A student of Tammar Luxoro at the Accademia Ligustica, he specialized in marine landscapes, capturing the diverse moods of the sea, the bustling activity of ports, and the picturesque beauty of the coastline with notable dramatic flair. His works, such as La Grotta del Diavolo, Torna il sole, Carbonili e porto di mattina, and Spiaggetta, reflect an intimate understanding of his subject matter, likely influenced by his Ligurian heritage.
Figari was an active participant in the Genoese art scene, exhibiting regularly and gaining recognition that led to acquisitions by public collections. While contemporary with major shifts in European art, his work appears to have remained focused on a skillful and expressive representation of the maritime world, a testament to his enduring connection to the sea. His paintings continue to find appreciation in the art market, particularly in Italy, affirming his status as a respected regional master.
It is essential to distinguish him from other notable figures named Figari, especially the Uruguayan modernist Pedro Figari, whose artistic themes and style were markedly different. Andrea Figari's contribution lies in his dedicated portrayal of the Ligurian coast, offering a window into the maritime soul of this Italian region during a transformative period in art history. His legacy is that of an artist who found his truest voice in the ceaseless dialogue between land and sea, a voice that continues to resonate through his evocative canvases.
