Mattia Jona, Master Drawings and Prints, Japanese Prints - Piazzetta Guastalla 5, 20122 Milan, Italy, tel (+39) 02 8053315

GIACOMO FAVRETTO (Venice 1849 - 1887) 16 ORIGINAL DRAWINGS COLLECTED IN AN ALBUM
The drawings are mainly studies of female figures and figure compositions. A, B, C, D and O are studies of elegant women; I, M and N depict women of the people. Four of the compositions(F, J, K and L) are studies of a couple of lovers in the vein of Romantic art. P is a study after a portrait sculpture.
A) Seated lady; black chalk on grey paper, signed 'G Favretto', 148 x 97 mm.
B) Standing lady; black chalk on grey paper, signed 'G F', 166 x 97 mm.
C) Seated lady, back view; black chalk on grey paper, signed 'G F', 166 x 96 mm.
D) Standing lady; black chalk on grey paper, signed 'G Favretto', 166 x 96 mm.
E) Composition with women and children; black chalk on grey paper, signed 'G FAVRETTO', 103 x 167 mm.
F) Composition with a couple of lovers; black chalk on grey paper, signed 'G FAVRETTO', 104 x 166 mm.
G) Composition with figures; black chalk on grey paper, signed 'G F', 60 x 83 mm.
H) Composition with figures; black chalk on grey paper, signed 'G F', 60 x 112 mm.
I) A girl picking grapes; black chalk on grey paper, signed 'G Favretto', 168 x 104 mm.
J) A couple of lovers; black chalk on grey paper, signed 'G F', 104 x 113 mm.
K) A couple of lovers; pen and black ink, black chalk, on grey paper, signed 'G F', 104 x 83 mm.
L) A couple of lovers; black chalk on grey paper, signed 'G Favretto', 167 x 103 mm.
M) Standing woman with shawl, back view; black chalk, signed 'G Favretto', 147 x 86 mm.
N) Standing woman, back view; black chalk, signed 'G F', 147 x 88 mm.
O) Standing woman, back view; pen and grey ink, signed 'G F', 147 x 87 mm.
P) Portrait sculpture; pen and grey ink, signed 'G Favretto', 145 x 87 mm.

Favretto studied at the Accademia in Venice from 1864 to 1875, under Michelangelo Grigoletti and Pompeo Marino Molmenti. He soon won most of the prizes offered by the Accademia and studied deeply the Venetian masters, such as Bellini, Carpaccio, Longhi and the Tiepolos. He was deeply concerned with the colour and light of the eighteenth-century Venetian School. Favretto travelled to Paris, where, despite his studies of light, he was more interested in the work of Meissonier and Fortuny than that of the Impressionists. Considered to be one of the foremost nineteenth-century painters of Venice, Favretto infused new life into the art of that city.