Mosè di Giosue Bianchi (1840-1904) stands as a significant figure in Italian painting during the latter half of the 19th century, often referred to as the Ottocento. Born in Monza, near Milan, Bianchi's life and career unfolded primarily in Lombardy, positioning him within a vibrant artistic milieu. His work is characterized by a fascinating synthesis of historical reverence and modern sensibility, navigating the complex currents of academic tradition, burgeoning Realism, and the revolutionary whispers of Impressionism emanating from France. His journey from a promising student to a recognized master, albeit one who faced hardship later in life, offers a compelling narrative of artistic dedication and evolution in a period of profound change for Italy and its art.
Early Life and Formative Education
Bianchi's artistic path began formally in 1856, at the age of sixteen (though some accounts suggest fifteen), when he enrolled in the prestigious Accademia di Belle Arti di Brera in Milan. This institution was a cornerstone of artistic training in Lombardy, shaping generations of painters. His initial studies, however, were soon interrupted by the tumultuous events of the Risorgimento. In 1859, Bianchi participated in the Second Italian War of Independence, a conflict that profoundly impacted the nation and, undoubtedly, left its mark on the young artist's worldview, even if his direct combat experience isn't extensively detailed.
Following the war, Bianchi returned to his studies at the reopened Brera Academy with renewed appreciation. He became a student under the guidance of Professor Giuseppe Bertini (1825-1898), a respected painter known for his historical and allegorical works, as well as decorative projects. Under Bertini's tutelage, Bianchi flourished, reportedly becoming one of the professor's most favored and promising pupils. This period laid the crucial academic foundation upon which his later stylistic explorations would be built, grounding him in drawing, composition, and the historical themes prevalent in academic art of the time.
Travels, Influences, and Artistic Development
A pivotal moment in Bianchi's development came in 1867 (some sources mention initial travels in 1864 after winning a prize) when he was awarded the prestigious Pensionato Oggione scholarship. This grant enabled him to travel extensively, significantly broadening his artistic horizons beyond Lombardy. He journeyed to Venice, a city whose light and atmosphere would become a recurring motif in his work, and also spent time in Florence and Rome, immersing himself in the masterpieces of the Italian Renaissance and Baroque periods. Crucially, his travels also took him to Paris, the epicenter of artistic innovation in Europe at the time.
In Paris, Bianchi encountered the burgeoning movements that were challenging academic conventions. While perhaps not fully embracing Impressionism wholesale, he absorbed its "traces," particularly its emphasis on light, color, and capturing fleeting moments. His time abroad also brought him into contact with various artists and collectors, fostering valuable exchanges. One noted influence from this period was the painter Ernesto Meneghelli, whose attention to detail and naturalistic rendering seemingly resonated with Bianchi's own inclinations. Furthermore, his exposure to 18th-century Venetian masters, most notably Giovanni Battista Tiepolo (1696-1770), deeply influenced his approach to historical genre scenes, which he began to produce with increasing frequency and success following his travels. This blend of influences – academic training, historical inspiration (especially Tiepolo), Venetian colorism, French Realism, and hints of Impressionism – became the hallmark of his eclectic yet personal style.
Key Themes and Subjects
Bianchi's oeuvre demonstrates considerable versatility, encompassing religious commissions, historical genre scenes, portraiture, and landscape painting. His early career saw significant success with religious subjects. A notable breakthrough was the Communion of Saint Luigi Gonzaga, created around 1863-1864 for the parish church of San Albino in Brugheria, commissioned by the pastor Nova Andrea Gandolfi. This work, along with others like the noted The Last Supper, showcased his ability to handle large-scale compositions and traditional iconography with skill and sensitivity, establishing his reputation within religious art circles.
However, Bianchi is perhaps most celebrated for his evocative depictions of Venice and the nearby fishing town of Chioggia. These locations provided endless inspiration, particularly their unique interplay of water, light, and architecture. He became exceptionally adept at capturing the varied moods of the Venetian lagoon and its canals, from tranquil, sunlit scenes to dramatic, stormy seascapes. Works like La tempesta del golfo di Venezia (The Storm in the Gulf of Venice), exhibited in Milan in 1881, and the series known as Le cinque tele di Venezia (The Five Canvases of Venice), exhibited between 1885 and 1887, exemplify this focus. This series included titles such as Lagoon in a Storm, Chioggia in Venice (possibly related to Canale di Vigonza exhibited in Turin in 1884), God of Chioggia, Steam Engine of Chioggia, and Song of Chioggia, highlighting his deep engagement with the region's atmosphere and daily life.
Beyond landscapes and religious art, Bianchi also explored genre scenes and social commentary. He produced works depicting 18th-century life, influenced by Tiepolo, which proved popular. Concurrently, he engaged with contemporary life through a lens informed by Realism. His Street Scene from 1880, now housed in the Museo del Novecento in Milan, is a fine example. With its detailed composition and warm color palette, it captures the everyday bustle of a 19th-century Italian city, demonstrating his keen observation of social realities. Other works like Monaca di Monza (Nun of Monza) and Milton (both exhibited in Naples, 1877), and I Chierici in processione (Clerics in Procession, exhibited Paris, 1878) further illustrate his interest in diverse narrative subjects. Portraiture also formed part of his output, as seen in the Portrait of Signora Ponti I, shown in Paris in 1878.
Masterworks and Stylistic Evolution
Among Bianchi's most significant later works is L'arrivo della tempesta (The Arrival of the Storm), an oil painting measuring 84 x 123 cm, created between 1900 and 1904. This piece was a private commission for the Bernasconi family and is considered a unique work that encapsulates his mature style. It masterfully combines elements of Lombard Naturalism with the sophisticated light and color handling associated with late French Impressionism. The painting is noted for its strong diagonal composition, vibrant color choices, and dynamic treatment of light, creating a sense of tension and impending drama that feels distinctly modern.
Indeed, L'arrivo della tempesta has been compared in spirit to the works of French Impressionist masters like Pierre-Auguste Renoir (1841-1919), suggesting Bianchi's awareness of and dialogue with contemporary European art trends. This late style, characterized by a greater emphasis on capturing atmospheric effects through light and color, often employing softer tones alongside strong chromatic contrasts, aligned Bianchi with the broader movement towards modernism in Italian art at the turn of the century. He navigated a path distinct from, yet contemporary with, other Italian movements like the Macchiaioli, whose leading figures included Giovanni Fattori (1825-1908) and Telemaco Signorini (1835-1901), who were pursuing their own forms of realism and plein-air painting primarily in Tuscany. Bianchi's Lombard interpretation focused more on integrating atmospheric light with narrative or genre elements.
Exhibitions, Recognition, and Later Life
Bianchi actively participated in the exhibition circuit throughout his career, gaining recognition both nationally and internationally. Following his successful travels funded by the scholarship, he achieved notable success at the Brera exhibition in 1873, which solidified his reputation, particularly for his 18th-century genre scenes and portraits. He exhibited regularly in major Italian cities: Naples in 1877 (Monaca di Monza, Milton), Milan in 1881 (La tempesta del golfo di Venezia), Turin in 1884 (Canale di Vigonza), and Venice multiple times, including the 1885-1887 period showcasing his Chioggia series.
His work also reached an international audience. He exhibited in Paris in 1878 (Portrait of Signora Ponti I, I Chierici in processione) and participated in the prestigious Paris International Exposition in 1900. This latter exhibition showcased his late style, demonstrating his absorption and personal interpretation of Impressionist techniques regarding light and color, described as a fusion with the "perfect achievements" of the French movement. His focus on landscape and light effects places him within a broader context of Italian Ottocento painters exploring similar themes, such as the Piedmontese master Antonio Fontanesi (1818-1882), known for his atmospheric landscapes, or Neapolitan painters like Domenico Morelli (1823-1901), who, while different stylistically, also explored light and historical narrative.
Despite his artistic achievements and recognition, Bianchi's later years were marked by financial hardship. He faced poverty, a stark contrast to his earlier successes. During this difficult period, he received crucial support from his nephew, Pompeo Mariani (1857-1927), who was himself a painter and acted as Bianchi's assistant. Mariani's help allowed Bianchi to continue working despite the challenging circumstances until his death in 1904.
Legacy and Influence
Mosè Bianchi left a lasting legacy, primarily within the Lombard art scene but also within the broader narrative of Italian Ottocento painting. His ability to synthesize diverse influences – from the historical grandeur of Tiepolo to the modern sensibilities of French painting – marks him as a significant transitional figure. He successfully navigated the demands of academic tradition while embracing the new artistic languages of Realism and Impressionism, forging a style that was both grounded and forward-looking.
His influence extended beyond his own canvases. Bianchi was also a dedicated teacher, mentoring many young artists in Monza and the surrounding region. His teaching activities played a vital role in shaping the next generation of Lombard painters, contributing significantly to the artistic development of the area. His contemporaries in Lombardy included figures associated with Lombard Naturalism like Filippo Carcano (1840-1914) and Eugenio Gignous (1850-1906), painters who shared an interest in landscape and realistic depiction, forming part of the rich artistic environment in which Bianchi worked and taught.
The enduring respect for Bianchi is evidenced by commemorative efforts long after his death. In the 2004-2005 academic year, marking the centenary of his passing, a competition for a sculpture and medal honoring him was initiated by the Istituto Superiore d'Istruzione di Monza, won by Carlo Simone di Altamura. A monument commemorating him, featuring the winning design, was unveiled in 2014, alongside the inauguration of a didactic path dedicated to Lombard stone, further cementing his place in the cultural heritage of the region.
Conclusion
Mosè di Giosue Bianchi remains a compelling figure in the history of Italian art. His journey reflects the artistic dynamism and complexities of the late 19th century. He was an artist deeply rooted in his Lombard heritage and academic training, yet open to the transformative influences sweeping across Europe. His mastery of light and color, particularly evident in his Venetian and Chioggian scenes, and his ability to imbue both historical and contemporary subjects with vitality, secure his importance. From grand religious commissions to intimate genre scenes and atmospheric landscapes, Bianchi's diverse output showcases a painter who skillfully bridged the gap between the traditions of the past and the emerging concerns of modernity, leaving behind a rich body of work that continues to resonate. His life, marked by both success and struggle, underscores a profound dedication to his craft and a significant contribution to the tapestry of Italian Ottocento painting.
