Charcoal, highlighted with white gouache
46 x 35 cm
Signed and dated 1889, lower left
Francesco Gonin was a highly significant painter and figure in Turin and Piedmont in the latter half off the 19th century. His artistic fortune was closely linked to Carlo Alberto's accession to the throne in 1831 and he maintained a close association with him until his death in 1949. As a result he painted many frescoes and oils that adorned churches, palaces and castles alike. On top of this he was commissioned for many portraits of several keys figures, whom he remained friendly with. The captivating and expressive present figure is that of a Calabrian however. Following the Risgormento Gonin, as with many other artists, portrayed figures across the many regions of the Italy, showing his commitment to the new unification of his nation. A sign too of his close relationship with Carlo Alberti and the House of Savoy.
Calabria, the Southern most mainland province, was, and remains, a far cry from his native Turin. The Calabrians would have seemed highly foreign and different. Wearing a bandana and hat, coupled with a untamed moustache and goatee, his deeply engaging glare is hard to take your eyes from. With hatching and multiple small strokes, highlighted with body colour. it shows considerable skill as a draftsman. The artist’s approach has a flare that matches that of his subject. This must be considered one his finest drawings.
Gonin was infant prodigy, becoming a pupil of Carlo Felice Biscarra and Luigi Vacca. His many major frescoes in Piedmont and Lombardy include in the Royal Palace of Turin, the Racconigi Castle, the Carignano Palace, and the Churches of Saint Massimo, Saint Dalmazzo and the Annunciation, all in Turin. His portraits include the Massimo d'Azeglio, Marquises Della Rovere, the Robbiani counts, the Marquise Adele de Sellon Benso di Cavour, General Ettore Perrone di San Martino, Emma Carolina Decker and Colonel Ferdinando Maffei among others. Gonin worked for the House of Savoy even after the death of Carlo Alberto, albeit in a less continuous manner. In 1857 he presented the large canvas Death of Duke Carlo Emanuele II which was purchased by King Vittorio Emanuele II.
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