Pompeo Massani (Florence, 1850 – 1920), Elderly Commoner

Pompeo Massani (Florence, 1850 – 1920)

Elderly commoner

Oil on canvas, 31,5 x 22 cm

With frame, 47,5 x 38 cm

Signed lower right

Pompeo Massani (Florence, December 1850 – 25 August 1920) was an Italian painter who stood out in the artistic panorama of his time for his genre painting, often characterised by a touch of irony and particular attention to the customs of the time. His career, entirely linked to the city of Florence, saw him emerge as a prominent figure and, subsequently, as a highly regarded academic. His artistic training took place at the Academy of Fine Arts in Florence, an environment that provided him with the technical and cultural foundations to develop his talent. Also crucial was the three-year period spent in the studio of the painter Michele Gordigiani, an experience that certainly contributed to refining his technique and directing him towards portraiture and figure painting. A Portrait of Michele Gordigiani at the easel is today preserved in the Gallery of Modern Art of Palazzo Pitti, a testimony to his bond with the master. Massani first made himself known to the public in 1875, exhibiting a Portrait at the Society of Encouragement in Florence. His success grew rapidly, and works such as La politica in canonica (1879), which earned him a silver medal at the Rovigo Exhibition, and Un brindisi al frate (1881), awarded in Genoa, consolidated his reputation. Pompeo Massani's style is strongly linked to genre painting, with a predilection for scenes portraying everyday life, often set in bourgeois or popular interiors, with characters in costume. His works are animated by acute observation and an ability to capture expressive details, often with a narrative and sometimes satirical slant. He loved to depict elderly people, immersed in apparently funny or famously carefree moments of life, such as scenes of drunkenness or card games. This humorous and good-natured streak earned him wide popularity both in Italy and abroad, particularly in the American market. In addition to genre scenes, Massani was also a popular portrait painter, painting, among others, the portrait of Vittorio Emanuele II and the Countess of Mirafiore. He also tried his hand at delightful “real life” paintings, displaying a taste that at times recalled his post-Macchiaioli experiences, and occasionally devoted himself to orientalist subjects. His career was studded with official recognition: in 1887 he was awarded the Knight's Cross of the Order of the Crown of Italy by King Umberto, and was named Honorary Professor of the Academy of Fine Arts in Florence. He also actively participated in the organization of cultural events, such as the historical ball and celebrations during the May celebrations of 1887 in Florence. Among his best-known works, in addition to those already mentioned, we recall Equestrian Circus (exhibited in Munich in 1889), The Grand Ronde (sold in Boston), The Drawing Lesson (purchased by the Goupil house in Paris), The Old Bachelors, A Game of Cards, The Concert, In the Cellar and Greeting to the Hunchback. His ability to create paintings rich in anecdotes and to capture everyday life with a keen eye on the customs of the time made his works highly sought after on the art market, guaranteeing him constant and lasting success.

The painting in question features an elderly female figure, presumably a commoner or a beggar, standing and leaning against a rough wall. The work is an excellent example of Massani's style, characterized by an attention to detail and the depiction of everyday life, often with a touch of realism and dignity. The woman is the center of the composition. Her face is marked by time, with deep wrinkles that testify to her advanced age. Her gaze is turned towards the viewer, with an expression that seems to be a mixture of resignation and dignity. On her head she wears a brightly colored handkerchief, predominantly yellow and orange, which contrasts with her aged skin. Her clothing is traditional and modest: she wears a white shirt with wide sleeves, covered by a colorful bodice or vest, with shades of red and yellow that add a touch of liveliness. On her shoulders she has a red shawl, rich in folds and details that suggest an elaborate fabric. A pale pink apron covers the front of her skirt, which appears gray-brown in color, with a worn and patched appearance. Next to her, on the left, she also holds a wicker basket, an element intended to distinguish popular figures or street vendors. On the wall that serves as a backdrop are some torn and illegible posters, which add a sense of authenticity and street life. Massani uses a visible and material brushstroke, especially in the rendering of the clothes and the background, which gives texture and depth to the painting. The colors are warm but sober, dominated by earthy and ochre tones, with accents of red, yellow and blue-green that draw attention to the figure. The work conveys a sense of realism and empathy for the subject, typical of Massani's genre painting, who loved to explore the figures of the people and their living conditions, while maintaining a certain dignity in the representation.