The epithet Nazarene was adopted by a group of early 19th-century German Romantic painters who aimed to revive spirituality in art. The name Nazarene came from a term of derision used against them for their affectation of a biblical manner of clothing and hair style.
Francesco Hayez was an Italian painter. He is considered one of the leading artists of Romanticism in mid-19th-century Milan, and is renowned for his grand historical paintings, political allegories, and portraits.
The Palazzo Pitti, in English sometimes called the Pitti Palace, is a vast, mainly Renaissance, palace in Florence, Italy. It is situated on the south side of the River Arno, a short distance from the Ponte Vecchio. The core of the present palazzo dates from 1458 and was originally the town residence of Luca Pitti, an ambitious Florentine banker.
Silvestro Lega was an Italian realist painter. He was one of the leading artists of the Macchiaioli and was also involved with the Mazzini movement.
Pietro Benvenuti was an Italian neoclassical painter.
Amos Cassiòli was an Italian painter, of battle scenes, historical canvases and portraits. He worked in a Purismo style.
Luigi Mussini was an Italian painter, linked especially to the Purismo movement and to the Nazarenes.
Guglielmo de Sanctis was an Italian painter.
From the second half of the 18th century through the 19th century, Italy went through a great deal of socio-economic changes, several foreign invasions and the turbulent Risorgimento, which resulted in the Italian unification in 1861. Thus, Italian art went through a series of minor and major changes in style.
Tommaso Minardi was an Italian painter and author on art theory, active in Faenza, Rome, Perugia, and other towns. He painted in styles that transitioned from Neoclassicism to Romanticism.
Domenico Bruschi was an Italian painter and educator. Bruschi also designed tapestries, Renaissance revival wooden furniture, sculptures in stucco and stained glass windows. Bruschi served as the chair of Ornamentor at the Institute of Fine Arts in Rome, was made an official Academician of the Accademia di San Luca, and named Commandatore for his excellence in painting.
Nicola Consoni (1814–1884) was an Italian painter, mainly of sacred and historic subjects.
Cesare Mussini was a German-Italian painter. He spent many years of his life as a painter in Russia.
Luigi Gregori (1819–1896) was an Italian artist who worked at the Vatican and served as artist in residence and professor at the University of Notre Dame.
Alessandro Franchi was an Italian painter. He worked in a combination of Romantic and Neo-gothic styles, influenced by Purismo.
Francesco Saverio Moretti was an Italian painter active in the Marche region.
Antonio Puccinelli was an Italian painter; one of the group known as the "Macchiaioli".
Tommaso Puccini was an Italian gallery director, heading the Gallerie fiorentine and the Accademia di Belle Arti in Florence as well as acting as Superintendent of Fine Arts. He was a prolific writer on art history and art theory.
Arturo Viligiardi was an Italian painter, sculptor, architect and urban planner.
Ricciardo Meacci was an Italian (Sienese) painter from the school of "Purismo" who came under the influence of the "Pre-Raphaelite" movement. He received several commissions for mural paintings, examples of which survive in the grand buildings of his native city of Siena. He is more widely-known, however, for his compressed but florid watercolour and gouache images of Christian devotional subjects, and moralized, allegorical scenes upon classical and romantic themes, original in composition but making reference to the Sienese quattrocento. These formal paintings, often conceived as triptychs, were cased in ornamental frames of modelled plaster, gilt, and applied pilaster arcading, and with openwork carving or finials, combining techniques and materials after the manner of the Arts and Crafts movement. For such works he had patrons among the royal houses of Europe, and examples are in the British Royal Collections. His watercolour studies of architectural corners and spaces in Venice and Florence are populated by incidental figures in daily costume.
