Induno Domenico, The Return of the Wounded Soldier
FCIP 0039.jpg
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1,854; oil on canvas
cm. 42,4 x 53
Signed bottom left: "D.o Induno"
Inventory: FCIP 0039
Provenance: Milan, 1970, private sale
Exibition: 1998-1999, Monza, n. 50; 2008-2009, Bergamo, s. n.; 2010, Malgrate, n. 18; 2016, Vienna, s.n.

This work is a variation of the larger painting The Call-up of the Follower of Garibaldi (1854, Lonigo Vicentino, Villa Godi Valmarana, Malinverni Collection) and is inspired by a classic theme associated with the epic of the Risorgimento, which was one of the favourite subjects of the brothers Domenico and Gerolamo Induno.

The painting depicts a soldier who has just been discharged because of the wounds he has received in battle. In the larger painting he is holding the call-up paper in his hand, while here it is probably his official discharge. In both cases, his imminent departure and forced return, Induno depicts the painful situation of a war volunteer in the privacy of his humble home. He is equally distressed by the idea of leaving his dear ones and by not being able to serve the cause of independence as a follower of Giuseppe Garibaldi. The artist took part in the Cinque Giornate uprising in Milan in 1848 and was forced into exile in subsequent years, while his brother followed Giacomo Medici’s volunteers to Rome. Induno’s personal experience of the events of the Risorgimento and the feelings that inspired them are expressed in scenes of heightened realism in his genre painting, as in this interior, which is true to life in every detail and contains figures in traditional costume. The light coming in through the window, beyond which a clear sky can be seen, and the colours chosen to accentuate the soldier’s red tunic heighten the pathos of the narrative with a skill similar to that found in other paintings of historical subjects like The Tale of the Wounded Soldier (1862, private collection), but also genre scenes painted in the same period, such as  Mother’s Help (1857, Padua, Musei Civici).

From November 2011, the work has been on view at the Gallerie d’Italia in Milan.

Sources:Archivio Storico Intesa Sanpaolo, Opere d'arte. Atti d'acquisto ex Cariplo. Fald. 1/3, pratica no. 879 R/432


Tesori d'arte delle banche lombarde, Associazione Bancaria Italiana, Milano, 1995, p. 271, ill. n. 520;
Giuseppe Fusari, Domenico Induno, Ritorno del soldato ferito, in Carlo Pirovano, a cura di, Luci e colori del vero. Genti e paesi nella pittura veneta e lombarda dalle collezioni Ambroveneto-Banca Intesa e Fondazione Cariplo, catalogo della mostra, Monza, Serrone della Villa Reale, 20 novembre 1998 – 24 gennaio 1999, Electa, Milano, 1998, n. 50, p. 114, ill.;
Paola Zatti, Domenico Induno, Il ritorno del soldato ferito, in Sergio Rebora, a cura di, Le collezioni d’arte. L’Ottocento, Fondazione Cassa di Risparmio delle Provincie Lombarde, Milano, 1999, n. 124, pp. 208-209, ill. p, 209;
Fernando Noris, a cura di, Ottocento tra realtà e sogno. Il lungo secolo della pittura italiana e lombarda, catalogo della mostra, Bergamo, Spazio Viterbi, 28 novembre 2008 - 22 febbraio 2009, Provincia di Bergamo - Fondazione Cariplo, Bergamo - Milano, 2008, ill. p. 32;
L’Italia unitaria nella collezione d’arte della Fondazione Cariplo e in altre raccolte private locali, portfolio della mostra, Malgrate, Quadreria Bovara-Reina, 27 novembre - 19 dicembre 2010, Lecco, 2010, n. 18, ill.;
Paola Segramora Rivolta, in Fernando Mazzocca, a cura di, Da Canova a Boccioni. Le collezioni della Fondazione Cariplo e di Intesa Sanpaolo, Skira, Milano, 2011, n. IV.42, pp.192-193, ill.;
Sabine Grabner, Domenico Induno, Heimkehr des verwundeten Soldaten, in Agnes Husslein-Arco e Sabine Grabner, a cura di, Ist das Bierdermeier? Amerling, Waldmüller und mehr, catalogo della mostra, Vienna, Museo del Belvedere, Himer Verlag, Munchen, 2016, pp. 188-189

Laura Casone
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