Biography and informationEdit
From 1855 Signorini participated in the creative search for the group, creating landscapes and battle scenes. Later, he repeatedly lived and worked in France (1862 and 1884) and England, where he wrote realistic scenes that were not devoid of intellectual contradictions (“In the San Bonifacio Insane Asylum”, 1865, Venice, Ca. Pesaro's Gal. Contemporary Art) urban city and focusing on the best examples of European painting of the time, especially the works of Degas, whom Signorini met in Paris (Morning Toilet, 1898, Milan, private collection).
In the 1880s, having become acquainted with the works of French Impressionists, Signorini was fond of the urban landscape, creating several canvases with views of the cities of Scotland in a different manner. In the paintings of Leet (1881, Florence, Pitti Gallery) and Street in Edinburgh (beginning of the 1880s, Lago di Vicenza, private collection) he seeks to convey the ever-changing rhythm of the city’s life. The static of large color spots is replaced by sharp dynamic strokes; a clear dark outline appears, outlining the figures captured in movement. In the end. 1880s - 1890s Signorini lived in the mountain villages of Pietramala and Pyankastaño, where he painted landscapes in the open-air manner of "macchiaioli" (End of August in Pietramala, 1889, Florence; Pyankastao, Milan, both private collections). Influenced by Degas, with whom the artist was friends, the canvases Morning Toilet (1898, Milan, private collection), High Light (1880, Florence, Pitti Gallery), made in the picturesque manner of Tuscan masters, were created. Signorini was written two books that have become valuable documentary evidence of the activities of "Macchiaioli" (Cartoonists and caricatures in the cafe "Michelangelo", 1867; Ninety-nine discussions of artists, 1877). Together with Marchand and the friend of the artists "macchiaioli" D. Martelli, one of the first to start collecting their works, Signorini published the literary polemical journal Gazzettino degli arti del disegno from 1867, where he published his articles on contemporary Italian and foreign art. The artist entered the history of Italian art as one of the most talented masters of the "School of Macchiaioli", the representative of Italian verismo 2nd floor. XIX century.