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Born in Castellammare di Stabia on 17 December 1859, in 1867 he went to Venice where he attended the Accademia di Belle Arti, graduating in 1876.
His wandering through the remote calli among the humblest classes led to the creation of his first paintings in the 1880s that were highly appreciated by the English market.
A frequenter of the Circolo Artistico together with Giacomo Favretto, Luigi Serena and Alessandro Milesi, he was bound by a strong friendship with the Dutch painter Cecil van Haanen in Venice from 1873.
From 1895 he held the chair of figure drawing at the Venetian academy where he also successfully directed the free school of the nude, attended by students such as Amedeo Modigliani and Umberto Boccioni.
Present at the annual exhibitions of the academy in Milan until the end of the century, his name is strongly linked to the Venetian biennials, as well as to important exhibitions held in Paris, Berlin, Munich, Buenos Aires and San Francisco.
The painting Pescheria vecchia a Venezia, presented at the 1887 Venice National Exhibition, was followed by a second version purchased in 1893 by the government for the Galleria Nazionale d'Arte Moderna in Rome, the city where, in 1911, he gave religious painting a notable work by winning one of the great prizes for the altarpiece with The Deposition of the Cross, later purchased by the Buenos Aires Museum.
In Brussels in 1915, his painting La gomena (kept at the Galleria Nazionale d'Arte Moderna in Rome) won the grand prize awarded to Italy.
In 1919 he had a very successful solo exhibition at the Galleria Pesaro in Milan.
A highly appreciated painter, he was always favoured by the public and the critics for his comprehensible, immediate and pleasant art. "Salubrious and serene, his art ignores ugliness" (Ugo Ojetti).
The great technical skill, the happy ease, the rare virtuosity of foreshortening and light effects, the liveliness of colour and the choice of subjects always in the open air, have given Ettore Tito's work an unmistakable prestige.
His large allegorical compositions were executed on frescoed walls, and in these one can see a distinct Tiepolesque inspiration.
And the influence of 18th century Venetian painting is also evident in the other works.
With the fresco on the vault of the Scalzi Church in Venice, a vast work completed in 1933, he healed a painful war wound inflicted on the art and religious piety of the Venetians, who had lost the admirable window opened in the sky by Giovan Battista Tiepolo's brush on 24 October 1915.
Ettore Tito received his greatest official recognition with his appointment as an Academician of Italy in 1929, when the Institute was established, among the first appointments proposed to the King by the Head of Government for the Arts class.
He was also a classically inspired sculptor.
Numerous paintings by Tito are held in private collections, the most notable of which is the Antonveneta Collection.
He died in Venice on 26 June 1941.
His wandering through the remote calli among the humblest classes led to the creation of his first paintings in the 1880s that were highly appreciated by the English market.
A frequenter of the Circolo Artistico together with Giacomo Favretto, Luigi Serena and Alessandro Milesi, he was bound by a strong friendship with the Dutch painter Cecil van Haanen in Venice from 1873.
From 1895 he held the chair of figure drawing at the Venetian academy where he also successfully directed the free school of the nude, attended by students such as Amedeo Modigliani and Umberto Boccioni.
Present at the annual exhibitions of the academy in Milan until the end of the century, his name is strongly linked to the Venetian biennials, as well as to important exhibitions held in Paris, Berlin, Munich, Buenos Aires and San Francisco.
The painting Pescheria vecchia a Venezia, presented at the 1887 Venice National Exhibition, was followed by a second version purchased in 1893 by the government for the Galleria Nazionale d'Arte Moderna in Rome, the city where, in 1911, he gave religious painting a notable work by winning one of the great prizes for the altarpiece with The Deposition of the Cross, later purchased by the Buenos Aires Museum.
In Brussels in 1915, his painting La gomena (kept at the Galleria Nazionale d'Arte Moderna in Rome) won the grand prize awarded to Italy.
In 1919 he had a very successful solo exhibition at the Galleria Pesaro in Milan.
A highly appreciated painter, he was always favoured by the public and the critics for his comprehensible, immediate and pleasant art. "Salubrious and serene, his art ignores ugliness" (Ugo Ojetti).
The great technical skill, the happy ease, the rare virtuosity of foreshortening and light effects, the liveliness of colour and the choice of subjects always in the open air, have given Ettore Tito's work an unmistakable prestige.
His large allegorical compositions were executed on frescoed walls, and in these one can see a distinct Tiepolesque inspiration.
And the influence of 18th century Venetian painting is also evident in the other works.
With the fresco on the vault of the Scalzi Church in Venice, a vast work completed in 1933, he healed a painful war wound inflicted on the art and religious piety of the Venetians, who had lost the admirable window opened in the sky by Giovan Battista Tiepolo's brush on 24 October 1915.
Ettore Tito received his greatest official recognition with his appointment as an Academician of Italy in 1929, when the Institute was established, among the first appointments proposed to the King by the Head of Government for the Arts class.
He was also a classically inspired sculptor.
Numerous paintings by Tito are held in private collections, the most notable of which is the Antonveneta Collection.
He died in Venice on 26 June 1941.
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