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head bowed, reverent, all collected in themselves. The figures are many. The canvas will immediately attracts to itself for what is spontaneous, simple, large, well thought out. ... nor caricature, nor ostentation, nor charlatanism, nor adherence to the in voices that call him to join the crowd, nor looking for cheap tricks, nothing theatrical: the natural observed calmly, without fever and without dismay, by a man sure of himself. He did not give his picture a pompous title, bit simply called it:
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posits what the eye sees ... Three and two peasant farmers who excavate the earth, turning their backs to the viewer, which is before a vague expanse of fields, already immersed in the calm evening light, the sun has set, and the smoking chimneys of the nearby village proclaim dinner time . The five figures have life, movement, energy, the country opens up before you, realistic, ample, spacious, and the eye goes for a long stretch and lose to the last line of the distant horizon.
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the artist lives the life of its models, because it invokes a feeling of fatigue and of piety, noting that poor people sentenced to work so rude; .... the large canvas by
Angiolo Tommasi does not, however the feeling that animates the paintings of Niccolò Cannicci but imposes the tough reality, just
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depicts the moment of raising the eucharist just outside a small parochial church during a peasant festival, when the townsfolk can not be accommodated inside the church, and, as is their custom, crowd outside of the door. For the solemn ceremony, some of peasants are prostrate on his knees, others,
196:. This last painting was awarded first prize, the Prize of Florence (2000 lire). Tommasi also painted portraits, for example: of signor Samama of Livorno, of signor Malenchini, of signor De Witt, of the naval engineer Orlando, and Comm. Costella, Sindaco of Livorno. In 1885, he exhibited a
132:. The young Angelo Tommasi inspires already a deep respect. You find a soul, and a soul that has something important to say. In this painter is a man who thinks, and in his work a concept.
53:; all three were influential for the arts in their native Tuscany in the late 19th and early 20th-centuries. Angiolo painted both genre and landscape themes.
180:, which won a bronze medal at the 1889 Paris Exhibition, and was later exhibited in Chicago. At the 1889 Promotrice of Florence, Tommasi exhibited:
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Returning from
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Tommasi first studied at the Scuola
Comunale di Disegno in his native city under professor
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Angiolo Lemmi, and then moved to Florence, where he enrolled for two years in the
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Dizionario degli
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Galleria
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200:. Tommasi also sent a large canvas titled
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302:Angelo de Gubernatis
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26:(detail), 1896, GNAM
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231:Patagonia
154:Il Gabbro
113:Sull'Arno
109:In podere
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88:Antignano
57:Biography
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