Carlo Ferrari
Encyclopedia
Carlo Ferrari called il Ferrarin, was an Italian painter.
, while practising as a copyist and restorer in the studio of the fresco painter Pietro Nanin.
Ferrari made his debut at the 1837 exhibition at the Verona Academy with a series of views of the city enlivened by genre episodes inspired by Flemish painting
. These would become typical subjects in the most successful part of his repertoire.
During the 1840s he received increasing public and critical acclaim, which coincided with his participating more frequently in exhibitions, such as the one at the Academy in Venice in 1839 and at the Brescia
Atheneum in 1840 and the Esposizione di Belle Arti at the Brera Academy
in Milan
in 1844, and also established himself as one of the leading Veronese painters during the Restoration period. He received important commissions from the local nobility and the Austrian officers based in Verona thanks to his being in favour with Field Marshall Radetzky, for whom his views of the Venetian Lagoon inspired by the 18th-century veduta model were mainly destined. The artist’s international fame and market appeal reached their height around 1851, following Emperor Franz Josef’s visit to his studio which guaranteed him an international clientele of the highest order.
During his late period he was highly active as a painter and engraver, specialising in the interpretation of Renaissance works, and he also became a connoisseur by working closely with the Veronese collector Cesare Bernasconi.
Biography
He studied sporadically at the Cignaroli Academy of Fine Arts in VeronaVerona
Verona ; German Bern, Dietrichsbern or Welschbern) is a city in the Veneto, northern Italy, with approx. 265,000 inhabitants and one of the seven chef-lieus of the region. It is the second largest city municipality in the region and the third of North-Eastern Italy. The metropolitan area of Verona...
, while practising as a copyist and restorer in the studio of the fresco painter Pietro Nanin.
Ferrari made his debut at the 1837 exhibition at the Verona Academy with a series of views of the city enlivened by genre episodes inspired by Flemish painting
Flemish painting
Flemish painting flourished from the early 15th century until the 17th century. Flanders delivered the leading painters in Northern Europe and attracted many promising young painters from neighbouring countries. These painters were invited to work at foreign courts and had a Europe-wide influence...
. These would become typical subjects in the most successful part of his repertoire.
During the 1840s he received increasing public and critical acclaim, which coincided with his participating more frequently in exhibitions, such as the one at the Academy in Venice in 1839 and at the Brescia
Brescia
Brescia is a city and comune in the region of Lombardy in northern Italy. It is situated at the foot of the Alps, between the Mella and the Naviglio, with a population of around 197,000. It is the second largest city in Lombardy, after the capital, Milan...
Atheneum in 1840 and the Esposizione di Belle Arti at the Brera Academy
Brera Academy
The Academy of Fine Arts of Brera, also known as Brera Academy is a public academic institution located in Milan, Italy. It was founded in 1776 by HIM Maria Theresa of Austria.- Overview :...
in Milan
Milan
Milan is the second-largest city in Italy and the capital city of the region of Lombardy and of the province of Milan. The city proper has a population of about 1.3 million, while its urban area, roughly coinciding with its administrative province and the bordering Province of Monza and Brianza ,...
in 1844, and also established himself as one of the leading Veronese painters during the Restoration period. He received important commissions from the local nobility and the Austrian officers based in Verona thanks to his being in favour with Field Marshall Radetzky, for whom his views of the Venetian Lagoon inspired by the 18th-century veduta model were mainly destined. The artist’s international fame and market appeal reached their height around 1851, following Emperor Franz Josef’s visit to his studio which guaranteed him an international clientele of the highest order.
During his late period he was highly active as a painter and engraver, specialising in the interpretation of Renaissance works, and he also became a connoisseur by working closely with the Veronese collector Cesare Bernasconi.