Ulisse De Matteis (1827-1910) was a Florentine artist who worked primarily in stained glass. De Matteis created windows for many of the most important monuments in Tuscany and Liguria, including the Bargello, Florence Cathedral, Santa Croce, Santa Trinita, Siena Cathedral, Prato Cathedral, San Michele in Foro in Lucca, Genoa Cathedral, Mackenzie Castle, and San Francesco d'Albaro. De Matteis' work is also found in England, in the Church of St. Mary in Lastingham.
Stained-glass artist Ulisse De Matteis was born in Florence, most likely in 1827. However, Angelo De Gubernatis, in his Dictionary of Living Italian Artists, reports that De Matteis was born in 1828, [1] and this date has been repeated in numerous other biographies of the artist. [2] [3] [4] The baptismal records in the archives of Florence cathedral do not contain a record of any De Matteis births in 1828. There are records in other years for two births, either of which could be the artist Ulisse De Matteis: Giuseppe Enrico Ulisse De Matteis born in 1827 or Enrico Ulisse De Matteis born in 1830. The record of Ulisse's death in the Ufficio Anagrafe (Registry office) in Florence lists his birth year as 1827, making it almost certain that he was born in 1827. [5] Ulisse's death in 1910 is recorded both in his obituary and in the Ufficio Anagrafe in Florence. [6]
Early in his life, De Matteis worked in his father Clemente’s engraving shop and had planned to continue in his father’s profession. However, in 1848, he volunteered for the first Italian War of Independence, when Italians were fighting for liberation from the Hapsburg Austrian Empire, which had ruled Tuscany since the death of the last Medici Gian Gastone in 1737. During the war, De Matteis was imprisoned with the Florentine academic painter Stefano Ussi; apparently, it was Ussi who encouraged De Matteis to abandon engraving and pursue painting. [7]
Upon his return to Florence in 1849, De Matteis attended figure drawing classes at the Accademia di Belle Arti and kept company at the Caffè Michelangelo in Via Larga (now Via Cavour), where he came to know the Macchiaioli painters, including Telemaco Signorini and Giovanni Fattori, both noted as his friends in his obituary. [8] This group, described by art historian Albert Boime as “close to the radical working-class movement led by the master baker Giuseppe Dolfi in Florence,” advocated for Tuscan independence and for the political unification of the Italian peninsula. [9] De Matteis’ working-class background united him with several of the artists who frequented the Caffè Michelangelo, including Vincenzo Cabianca and Giovanni Fattori. The only known extant image of the artist was painted in 1857 by the Sienese artist Angelo Visconti during Visconti’s stay in Florence. [10] In the portrait, De Matteis wears a velvet cap similar to those worn by several figures in the entourage of the young king in Benozzo Gozzoli’s 1459-60 Procession of the Magi in the chapel of the Palazzo Medici. While the collar is modern, the robe De Matteis wears resembles those worn by men in fifteenth-century Florentine portraits by artists such as Botticelli.
In the 1850s, the painter-restorer Gaetano Bianchi encouraged De Matteis to pursue stained glass; De Matteis then turned to Emilio Bechi, a prominent chemist at the Istituto Tecnico in Florence, for advice on how to make enameled pigments. [11] [12] With capital and workshop space provided by the glass company of Carlo and Giuseppe Francini [13] and the expertise of Natale Bruschi in cutting and leading glass, De Matteis founded his workshop in 1859 in the Via Guelfa in Florence. Throughout their collaboration, which lasted well into the 1880s, Bruschi fabricated the windows according to De Matteis’ designs, and De Matteis then painted the glass with enameled pigments—a process that followed the practices of medieval stained-glass artists.
At the same time he was preparing to launch his stained-glass workshop, De Matteis married his first wife Elena Paoli. The couple had three children: [14]
In 1875, Ulisse married his second wife, the artist Veronica Vespini degli Innocenti (1854 Arezzo-1910 Florence). [15] [16] Veronica was a practicing artist who exhibited her work, sometimes alongside Elettra, her stepdaughter, and Ulisse. Veronica and Ulisse had five children: [17]
By the late 1890s, the De Matteis workshop was a family enterprise. In a 1979 interview with Maria De Matteis, published in the catalog of an exhibition of her work as a costume designer, she reminisces: "Earlier, as a child, I worked with my father, a painter of stained-glass windows (pittore di vetrate)...And in Corso dei Tintori in Florence, there is, or at least I think it's still there, a stained-glass window that I painted. The family environment was formative for me. My father, like I said, was a painter, and my mother a miniature painter, she made miniature paintings even for the czars. All of my siblings painted, except my sister Rita, pianist and composer, who married the painter Ezio Giovannozzi." [21] Maria De Matteis' memories are attested to in accounts from the time: in an 1896 account of artists in his book Florence Today (Firenze d'oggi), Ugo Matini remarks that all of the family, even the small children, work together on the company’s numerous commissions. [22] Beginning in about 1904, Sergio and Eva De Matteis co-directed the workshop, although correspondence is signed only from Sergio and Ulisse. On November 1, 1906, the firm moved from its workshop at 67 Via Guelfa to the Palazzo Ricasoli-Firidolfi, in Corso dei Tintori 51-Lungarno delle Grazie 6a. [23] Sergio died in 1907 and Eva in 1908, leaving Ulisse and Veronica in deep sorrow and in search of a new workshop director. Ezio Giovannozzi, the spouse of Rita Landa, with the assistance of the painter Ricciardo Meacci, took control of the shop in 1908, two years before Ulisse's death in 1910.
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