Inganni Angelo, Birds of the Marshes
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works associated

1,852; oil on cardboard
cm. 23,5 x 32
Signed and dated bottom right: “Angelo Inganni / 1852” Monochromatic sketch with animals on the back of the canvas and autograph indication of title: “Uccelli di palude (cm 32 x 23,5)”
Inventory: AH01532AFC
Provenance: 1986, Milan, Finarte

Signed and dated 1852, this painting provides an example of a lesser branch of Angelo Inganni’s work devoted to animal subjects. The primary figures in the small composition are the turkey and ducks grouped around a barrel on snow-covered ground. Exploiting the chromatic contrast between the dark shades and the white of the birds’ plumage and the snow, the painting is a pleasant and engaging exercise in painting from life.


It was in 1838, the year when A Group of Chicks was presented at the Esposizione di Belle Arti di Brera, that animal subjects made their appearance in the artist’s repertoire alongside his better-known perspective views and lively urban scenes. Either alone or included within broader depictions of rustic life, farmyard animals and fowl became recurrent elements in the painter’s mature works.


In accordance with the tastes and pressing demands of clients, all the artists of the Inganni family – Angelo, his brother Francesco and his young second wife Amanzia Guerillot – worked with great versatility to produce both still-life works in the Flemish and Biedermeier styles and animal paintings, sometimes on shaped pieces of wood serving as doorstops.


Sources:Archivio Storico Intesa Sanpaolo, Patrimonio Cariplo, Opere d’arte. Atti d’acquisto ex Cariplo. Fald. 2/3, pratica no. 879 R/717


Dipinti del XIX secolo, asta 578, Finarte, Milano, 1986, n. 181, p. 80, ill. (come Animali e botte sulla neve);
Tesori d'arte delle banche lombarde, Associazione Bancaria Italiana, Milano, 1995, p. 285, ill. n. 546;
Paola Zatti, Angelo Inganni, Uccelli di palude, in Sergio Rebora, a cura di, Le collezioni d’arte. L’Ottocento, Fondazione Cassa di Risparmio delle Provincie Lombarde, Milano, 1999, n. 141, p. 234, ill..

Elena Lissoni
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