Lorenzo Delleani stands as a pivotal figure in late 19th and early 20th-century Italian art, celebrated primarily for his evocative landscape paintings. Born in Pollone, near Biella in the Piedmont region, on January 17, 1840, and passing away in Turin on November 13, 1908, Delleani dedicated much of his artistic life to capturing the unique light, atmosphere, and character of his native landscapes. Though he began his career exploring historical themes, his enduring legacy lies in his passionate and increasingly modern interpretations of the natural world, positioning him as a key exponent of Italian landscape painting during a period of significant artistic transition.
His journey reflects a broader shift in European art, moving from academic traditions towards a more direct engagement with reality, light, and personal sensation. Delleani developed a distinctive style characterized by vibrant brushwork, a keen sensitivity to color and atmospheric effects, and a profound connection to the Piedmontese environment he knew so intimately. His work offers a window into the soul of this Italian region, rendered with both technical skill and deep emotional resonance.
Early Life and Academic Foundations
Lorenzo Delleani's artistic inclinations emerged within the context of a rapidly changing Italy. His formative years were spent in Pollone, a town nestled in the foothills of the Biellese Alps, an environment that would profoundly shape his artistic vision later in life. Seeking formal training, he enrolled at the prestigious Accademia Albertina in Turin, the primary art institution in the Kingdom of Sardinia (later Italy). This period, beginning around the late 1850s, was crucial for honing his technical skills.
At the Accademia, Delleani studied under influential figures of the time. Masters such as Carlo Arienti and Enrico Gamba guided his early development. These instructors, while rooted in the academic tradition, provided Delleani with a solid foundation in drawing, composition, and the handling of paint. During this period, historical painting was still highly regarded, and Delleani initially followed this path, producing works that demonstrated his proficiency in narrative composition and academic conventions.
His time at the Accademia also brought him into contact with other aspiring artists who would become notable figures in Piedmontese art. Contemporaries like Vittorio Avondo, also known for his landscape work, and Federico Pastoris were part of the same artistic milieu. This environment fostered a spirit of learning and exchange, even as individual artists began to forge their own paths. Delleani's early works from this period, often focused on historical or literary subjects, showed promise and technical competence, laying the groundwork for his later stylistic evolution.
A Shift Towards Landscape and Modernity
While Delleani achieved early recognition for his historical paintings, a significant shift occurred in his artistic focus around the 1860s and increasingly solidified over the following decades. He began to turn away from grand historical narratives and towards more intimate subjects, particularly religious themes and, most importantly, landscape painting. A decision noted around 1861 to concentrate more on religious painting marked an early pivot, though it initially drew some criticism.
This transition was not merely a change in subject matter but reflected a deeper evolution in his artistic philosophy and alignment with broader European trends. The mid-to-late 19th century saw the rise of Realism and, subsequently, Impressionism, movements that emphasized direct observation of the contemporary world and the fleeting effects of light and atmosphere. While Delleani never fully adopted the broken color techniques of French Impressionism, he was undoubtedly influenced by the desire to capture immediate sensory experience.
His move towards landscape painting intensified significantly in the 1880s. This decade marked his dedicated embrace of en plein air painting – the practice of working outdoors directly from nature. This approach allowed him to capture the transient qualities of light and weather with greater immediacy and authenticity. His brushwork became more rapid and expressive, aiming to convey not just the appearance of a scene but its intrinsic mood and energy. This commitment to outdoor painting became a defining characteristic of his mature style.
The Piedmontese Landscape: Muse and Subject
The landscapes of Piedmont, particularly the area around his native Biella, became the central focus of Delleani's art. He possessed an intimate knowledge and deep affection for this region, from the rolling hills and fertile plains to the rugged pre-Alpine and Alpine terrains, including iconic sites like the Sanctuary of Oropa. His paintings are imbued with a sense of place, capturing the specific character of the Piedmontese environment through changing seasons and varying times of day.
Delleani's approach was not merely topographical; he sought to express the emotional resonance of the landscape. His works often convey a sense of solitude, tranquility, or the raw power of nature. He was particularly adept at rendering atmospheric effects – the haze of a summer afternoon, the crisp light of autumn, the dramatic skies of an approaching storm, or the soft glow of twilight. His paintings like Paesaggio biellese al tramonto (Biellese Landscape at Sunset), a collaboration with Gaetano Ceragioli, exemplify this focus on light and mood.
His connection to the land extended to the people who inhabited it. While primarily a landscape painter, figures sometimes appear in his work, often integrated naturally into the environment, such as peasants working in fields or washerwomen by a stream, as seen in La lavandaia (The Washerwoman, 1904). These elements add a layer of human presence and daily life to his depictions of nature, reflecting his observation of the rural world around him.
Stylistic Development and Technique
Lorenzo Delleani's style evolved throughout his career, but it consistently retained certain key characteristics. His brushwork, especially in his mature phase, was energetic and often thick, using impasto to build texture and convey the materiality of the scene. He worked quickly, aiming to capture the essence of a moment before the light changed, a practice evident in the spontaneity of many of his canvases and smaller panel studies.
His use of color was distinctive. While grounded in observation, he employed a palette that emphasized harmony and emotional expression. Sources note his preference for certain color combinations, often involving whites, greys, earthy browns, greens, and blacks, used dynamically to create contrasts of light and shadow and to evoke specific moods. His 1904 painting Autumn is a prime example of his ability to use rich color and textured paint to convey the feeling of a season.
Although influenced by Impressionistic concerns with light and direct observation, Delleani's work retained a strong connection to Italian artistic traditions. His compositions, while often simple and direct, maintained a sense of structure and solidity. He was less interested in dissolving form through light, as some French Impressionists were, and more focused on capturing the enduring character and "intrinsic value" of the landscape. His style can be seen as a personal synthesis, blending modern techniques with a deeply felt romantic sensibility rooted in his native soil.
Representative Works
Several works stand out as representative of Lorenzo Delleani's artistic achievement and stylistic concerns:
Paesaggio di Lys (Landscape of Lys, 1904): This painting depicts the Lys Valley, an Alpine region known for its dramatic scenery. The work showcases Delleani's mastery of light and shadow, capturing the strong contrasts typical of mountain environments. It reflects his late style, characterized by bold execution and a focus on atmospheric effects.
Autumn (1904): Exemplifying his ability to evoke seasonal moods, this work uses thick impasto and warm, earthy tones to convey the richness and melancholy of autumn. The vigorous brushwork contributes to the painting's expressive power.
La lavandaia (The Washerwoman, 1904): While primarily a landscape, this painting includes a figure engaged in daily work, integrating human activity into the natural setting. It demonstrates Delleani's eye for detail and his interest in capturing scenes from contemporary rural life.
Paesaggio biellese al tramonto (Biellese Landscape at Sunset): Created in collaboration with Gaetano Ceragioli, this work highlights Delleani's skill in rendering the fleeting effects of twilight over the familiar Biellese landscape. The collaboration itself is an interesting aspect of his career.
High Mass at Oropa: This subject, which he revisited, depicts pilgrims and the grandeur of the Sanctuary of Oropa, a significant religious site in the Biella region. It combines landscape elements with genre scenes, showcasing his versatility.
Il Paesaggio (The Landscape): Often cited as a key work, this title likely refers to multiple paintings embodying his core philosophy – the direct, emotive depiction of the natural world, emphasizing its inherent beauty and spiritual value.
These works, among many others, illustrate Delleani's consistent dedication to landscape, his evolving technique, and his ability to infuse his paintings with personal feeling and a strong sense of place.
Artistic Circle, Influences, and Interactions
Lorenzo Delleani operated within a vibrant artistic context, interacting with and being influenced by numerous contemporaries, both in Piedmont and beyond. His training at the Accademia Albertina under Carlo Arienti and Enrico Gamba provided his initial grounding. His peers there, such as Vittorio Avondo and Federico Pastoris, also contributed to the development of Piedmontese landscape painting.
The broader context of Italian art in the latter half of the 19th century included movements like the Tuscan Macchiaioli, whose members included Giovanni Fattori and Telemaco Signorini. While geographically distinct, the Macchiaioli shared with Delleani an interest in realism, direct observation, and the effects of light, representing a parallel push towards modernity in Italian art.
In Piedmont itself, the figure of Antonio Fontanesi loomed large. Fontanesi was a major influence on landscape painting in the region, associated with the Scuola di Rivara, a group of artists (including Carlo Pittara and Ernesto Rayper) who practiced en plein air painting near Turin. Although Delleani was not formally part of this group, he shared their commitment to outdoor work and capturing the local landscape, and Fontanesi's lyrical style likely resonated with him.
Delleani maintained relationships with various artists and intellectuals. His close friendship with Giacomo Camerana, a poet and painter, highlights a connection between visual art and literature, suggesting shared romantic sensibilities. He collaborated on specific works, such as Paesaggio biellese al tramonto with Gaetano Ceragioli and reportedly on a work titled Olanda (Holland) with an artist named Ciani, though sources suggest artistic differences arose in the latter case. He was also acquainted with the painter Silvio Pollone.
Furthermore, Delleani's work might show awareness of or dialogue with major figures from other Italian centers, such as the Neapolitan painter Domenico Morelli, known for his blend of realism and romanticism in historical and religious subjects during Delleani's formative years. The sculptor Leonardo Bistolfi, another prominent Piedmontese artist and friend, was part of the same cultural environment in Turin. Delleani's participation in national exhibitions in Turin, Milan, Venice, and internationally at the Paris Salon, placed his work within a wider artistic discourse.
Later Life, Recognition, and Legacy
In his later years, Lorenzo Delleani continued to paint with undiminished passion, focusing almost exclusively on the Piedmontese landscapes he loved. He spent considerable time in his native Pollone and traveling through the region, constantly seeking new motifs and capturing the changing seasons. His late works often display an even greater freedom and synthesis, summarizing forms and emphasizing color and light with bold confidence.
His personal life saw changes as well; after a period marked by strained family relations, particularly with his mother, he settled more permanently in Turin and remarried later in life. Despite his dedication and prolific output, historical accounts suggest his work, particularly after his shift away from historical painting, did not always receive unanimous acclaim from the official art establishment, though he was respected and had a following.
Delleani suffered from a serious illness towards the end of his life, passing away in Turin in 1908. His funeral was attended by many friends, artists, and admirers, attesting to the regard in which he was held within his community. His legacy lies primarily in his contribution to Italian landscape painting. He is considered one of the foremost interpreters of the Piedmontese landscape, capturing its essence with a unique blend of realism, atmospheric sensitivity, and expressive power.
His works are held in important public collections, including the Galleria d'Arte Moderna (GAM) in Turin, various museums in Biella and Piedmont, as well as numerous private collections. He influenced subsequent generations of Piedmontese painters and remains a key figure for understanding the development of modern Italian art outside the main centers of Florence and Rome. His translation of the French biologist Félix Archimède Pouchet also points to a broader intellectual curiosity, perhaps linking his deep observation of nature in art to a scientific interest in the natural world.
Conclusion
Lorenzo Delleani carved a distinct and significant path through the landscape of 19th-century Italian art. Moving from the conventions of historical painting to a deeply personal and modern engagement with nature, he became the preeminent painter of the Piedmontese region. His canvases, characterized by vigorous brushwork, sensitive handling of light and color, and an intimate connection to his subjects, offer a profound and enduring vision of the Italian landscape. While perhaps not always aligned with the dominant tastes of his time, his dedication to en plein air observation and his ability to convey the emotional weight of place secure his position as a master interpreter of the natural world and a vital figure in the story of Italian art's transition towards modernity. His paintings continue to resonate, inviting viewers to experience the unique beauty and soul of Piedmont through his eyes.
