Bernardo Hay stands as an intriguing figure in late 19th and early 20th-century European art. Born in Italy to a British mother, his artistic identity was forged primarily on Italian soil, particularly in the vibrant atmosphere of Naples and the idyllic setting of Capri. Though perhaps not as widely celebrated today as some of his contemporaries, Hay developed a distinctive style, focusing on landscapes, coastal scenes, and depictions of everyday life, leaving behind a body of work appreciated for its sensitivity to light and place. His life and career reflect the cosmopolitan artistic exchanges common in his era.
Anglo-Italian Roots and Artistic Beginnings
Bernardo Hay entered the world in Florence, Italy, in 1864. His heritage was Anglo-Italian; his mother was the notable British painter Jane Benham Hay, a figure associated with the second wave of the Pre-Raphaelite movement. Jane Benham Hay had established herself in the Florentine art scene. Bernardo's paternity remains unclear, as his mother was separated from her husband, William Hay, at the time of his birth. This artistic lineage undoubtedly played a role in shaping young Bernardo's path.
His formal artistic training took place in Naples, a bustling artistic centre in Southern Italy. There, he studied under the guidance of Francesco Saverio Altamura. Altamura was a significant painter associated initially with historical subjects and later known for his connection to the Macchiaioli group, artists who revolutionized Italian painting by emphasizing painting outdoors (plein air) and capturing the effects of natural light and colour. This mentorship likely instilled in Hay a sensitivity to atmospheric effects and a realist approach, tempered with painterly brushwork, characteristics often noted in his later work.
Early Travels and Exhibitions
The early 1880s were a period of exploration for the young artist. Hay spent time not only in Naples but also resided briefly in other artistically significant cities, including Venice, Florence, and even venturing north to Bruges in Belgium. This exposure to diverse environments – the luminous canals of Venice, the Renaissance heart of Florence, and the medieval charm of Bruges – broadened his visual vocabulary and provided rich subject matter.
His emerging talent gained public recognition early on. In 1883, Hay participated in the annual art exhibitions held in both Milan and Rome. He presented multiple works, showcasing his burgeoning interest in landscape and genre. Titles recorded from these exhibitions include Flower Field, Summer in Posillipo (a scenic coastal area near Naples), and two distinct Venetian landscapes. This participation indicates his ambition and his integration into the contemporary Italian art circuit.
Two years later, in 1885, Hay exhibited his work in Turin, another major Italian city. The pieces shown there further demonstrate the range of his interests: Portrait of Carmanella, suggesting an engagement with portraiture and local character; Spring Flowers, indicating still life or landscape with floral elements; and a Landscape of Naples or Seascape at Resina (sources vary slightly on the title), reaffirming his connection to the Neapolitan region. These early exhibitions were crucial steps in establishing his reputation.
Naples and Capri: A Deepening Focus
Around 1886, Bernardo Hay returned to Naples, the city where he had received his foundational training. For the next several years, until about 1890, he dedicated himself primarily to capturing the unique beauty and life of this region. His canvases frequently depicted the stunning coastal scenery of the Bay of Naples, a subject that had captivated artists for centuries, from earlier view painters like Giacinto Gigante to visiting artists from across Europe.
Hay’s interest extended beyond pure landscape. He also turned his attention to the people of Naples, creating portraits and genre scenes featuring ordinary individuals. These works offered glimpses into the daily life and character of the local populace, a theme popular among artists seeking authenticity and picturesque realism. His approach was likely influenced by the Neapolitan school's tradition of genre painting, seen in the works of artists like Filippo Palizzi.
In 1895, Hay made another significant move, relocating to the island of Capri. This island, renowned for its dramatic cliffs, luminous grottoes, and charming villages, was already a magnet for international artists and writers. Figures like Karl Wilhelm Diefenbach were contemporaries who also found inspiration in Capri's unique atmosphere. Hay would remain based here for a significant portion of his later life, and the island's landscapes and seascapes became central motifs in his oeuvre. Works titled Capri Beach Scene exemplify this period.
Artistic Style, Influences, and Themes
Bernardo Hay's artistic style is characterized by its focus on naturalism and the effects of light and atmosphere. Working primarily in oil, he demonstrated a skilled hand in rendering the interplay of sun, water, and land. His Neapolitan and Caprese scenes often convey the bright, clear light of Southern Italy, while his Venetian views capture the unique aquatic reflections of that city. His time in Bruges likely resulted in works with a different mood, perhaps reflecting the more muted light and architectural density of the Belgian city, a place that also inspired Symbolist painters like Fernand Khnopff, though Hay's style remained rooted in realism.
The influence of his teacher, Francesco Saverio Altamura, is evident, particularly in the painterly yet accurate depiction of scenes. Through Altamura, Hay was indirectly connected to the Macchiaioli, whose emphasis on capturing the impression of light and colour through distinct patches (macchie) of paint was revolutionary. While Hay may not be strictly classified as a Macchiaiolo, their principles regarding plein air painting and truthfulness to nature likely resonated with him. Other prominent Italian artists of the era exploring similar themes of landscape and daily life include Giuseppe De Nittis, known for his elegant Parisian and London scenes but also Italian landscapes, and Domenico Morelli, a leading figure in Neapolitan painting.
Hay’s primary themes revolved around place: the Bay of Naples, the island of Capri, the canals of Venice (a subject immortalized by Canaletto and Francesco Guardi centuries earlier, and revisited by contemporaries like John Singer Sargent), and the cityscapes of Bruges. Within these settings, he explored coastal views, beach scenes, landscapes, and the lives of local people, particularly fishermen and common folk in Naples and Capri. His work provides a visual record of these locations as they appeared at the turn of the 20th century, appealing to both local audiences and the growing number of international tourists and collectors fascinated by Italy. British artists like J.M.W. Turner and Richard Parkes Bonington had earlier paved the way for British interest in Italian light and landscape.
Exhibitions, Reception, and Legacy
Throughout his career, Bernardo Hay continued to exhibit his work, primarily within Italy. His participation in the Milan, Rome, and Turin exhibitions in the 1880s established his presence. Some sources also mention participation in Turin exhibitions held in 1930 and 1936, presenting works like Flower Field and Summer in Posillipo. However, these dates conflict with his generally accepted death year(s), suggesting either posthumous showings or potential inaccuracies in the records; the works listed are notably similar to those shown much earlier in 1883.
Regardless of these specific records, Hay achieved a degree of success and recognition. His paintings were acquired by collectors and, according to some sources like Paintgallery.net, found their way into museum collections. His evocative depictions of popular Italian destinations, rendered with skill and sensitivity, held considerable appeal. Works such as View of a Venetian Canal and various Neapolitan scenes remain sought after in the art market today, appreciated for their aesthetic qualities and historical charm.
Bernardo Hay's legacy lies in his contribution to the rich tradition of landscape and genre painting in Italy during a period of significant artistic transition. As an artist of Anglo-Italian background, he navigated different cultural contexts, yet his artistic heart remained firmly rooted in the Italian landscape, particularly the south. He captured the enduring allure of Naples, Capri, and Venice with a style that balanced realism with painterly attention to light. While perhaps overshadowed by more avant-garde movements or nationally celebrated figures like Giovanni Fattori or Silvestro Lega of the Macchiaioli, Hay carved out a niche for himself, creating works that continue to resonate with viewers drawn to the beauty of Italy and the artistry of the late 19th and early 20th centuries.
There remains some ambiguity surrounding the end of his life. Sources differ, with some stating he died in Capri in 1931, while others place his death in Naples in 1934. This uncertainty mirrors the somewhat elusive nature of his historical profile, yet the quality and consistency of his known works secure his place as a talented and dedicated painter of his time.
