Egisto Lancerotto Artwork valuations, appraisals and auction estimates

Egisto Lancerotto spent his childhood in Noale until 1853, when his father Giuseppe, an employee of the Habsburg Empire in the Noale district, was forced to move to Venice for work reasons.
This change was determined by the repression of the territory, following events linked to the activity of the Risorgimento patriot originally from the city Pietro Fortunato Calvi (who would later be adopted by Egisto in one of the paintings in the municipal collection).
In Venice Lancerotto studied at the Academy of Fine Arts, where he found Napoleone Nani, Michelangelo Grigoretti, Federico Moja and especially Pompeo Marino More Mendy, as teachers, who had the greatest influence on the young man's painting.
Among other things, the two male nudes and the "Siege of Florence" owned by the municipality date back to this period.
Our inclination, however, is to turn to "genre scenes" in which everyday expressions prevail.
This tendency towards "realism" made him known to the public in the 1980s through important exhibitions in Milan, Turin and Venice, where he found numerous buyers.
Some paintings from the Noale estate date back to those years, for example: "Materna Happiness", "School of Painting", "Wild Hunt".
There were some of the most successful works of those years, such as "Piccolo Pittore", "Venice Regatta" and the triptych "Scuola di Pittura".
Critics have not always welcomed and respected Lancerotto's work, particularly his repetition of themes, settings and attitudes.
He had the opportunity to exhibit several times in the city of Verona, which greatly appreciated his paintings, and there he had some success in sales.
His enormous activity and presence in exhibitions made him increasingly known, pushing him to exhibitions as far away as Florence, Rome, Genoa, Bologna.
Not for this reason, he ignored international magazines such as Universal Studios Paris in 1878 and Universal Studios in 1889, Antwerp in 1885, London, Nice and Munich in 1884 and 1888.
The city where Lancerotto's work is most often seen is obviously Ferrara, thanks to the activity of the "Benvenuto Tisi de Garofalo" company, a promoter of fine arts based in Palazzo Diamanti.
The relationship began in 1877 and continued until his death.
Thanks to the letters preserved in the National Archives of Ferrara it is possible to reconstruct Egisto's activity and life.
From these documents it can be proven that Lancerotto had taught for many years at the Academy of Venice as an assistant on the painting course, where he initially had his own studio and then moved to the Lido.
The relationship with the "Tisi" Foundation, which played an important role in maintaining the business, did not always meet expectations, because sometimes Lancerotto wrote to Minister Droghetti complaining about the offers received, which were not related to the painting. deemed insufficient compared to the actual values. Read the full biography

Egisto Lancerotto spent his childhood in Noale until 1853, when his father Giuseppe, an employee of the Habsburg Empire in the Noale district, was forced to move to Venice for work reasons.
This change was determined by the repression of the territory, following events linked to the activity of the Risorgimento patriot originally from the city Pietro Fortunato Calvi (who would later be adopted by Egisto in one of the paintings in the municipal collection).
In Venice Lancerotto studied at the Academy of Fine Arts, where he found Napoleone Nani, Michelangelo Grigoretti, Federico Moja and especially Pompeo Marino More Mendy, as teachers, who had the greatest influence on the young man's painting.
Among other things, the two male nudes and the "Siege of Florence" owned by the municipality date back to this period.
Our inclination, however, is to turn to "genre scenes" in which everyday expressions prevail.
This tendency towards "realism" made him known to the public in the 1980s through important exhibitions in Milan, Turin and Venice, where he found numerous buyers.
Some paintings from the Noale estate date back to those years, for example: "Materna Happiness", "School of Painting", "Wild Hunt".
There were some of the most successful works of those years, such as "Piccolo Pittore", "Venice Regatta" and the triptych "Scuola di Pittura".
Critics have not always welcomed and respected Lancerotto's work, particularly his repetition of themes, settings and attitudes.
He had the opportunity to exhibit several times in the city of Verona, which greatly appreciated his paintings, and there he had some success in sales.
His enormous activity and presence in exhibitions made him increasingly known, pushing him to exhibitions as far away as Florence, Rome, Genoa, Bologna.
Not for this reason, he ignored international magazines such as Universal Studios Paris in 1878 and Universal Studios in 1889, Antwerp in 1885, London, Nice and Munich in 1884 and 1888.
The city where Lancerotto's work is most often seen is obviously Ferrara, thanks to the activity of the "Benvenuto Tisi de Garofalo" company, a promoter of fine arts based in Palazzo Diamanti.
The relationship began in 1877 and continued until his death.
Thanks to the letters preserved in the National Archives of Ferrara it is possible to reconstruct Egisto's activity and life.
From these documents it can be proven that Lancerotto had taught for many years at the Academy of Venice as an assistant on the painting course, where he initially had his own studio and then moved to the Lido.
The relationship with the "Tisi" Foundation, which played an important role in maintaining the business, did not always meet expectations, because sometimes Lancerotto wrote to Minister Droghetti complaining about the offers received, which were not related to the painting. deemed insufficient compared to the actual values. .
In the early 1990s his paintings were too fast, rushed and of poor quality, and apparently the desire to sell caused him to overproduce them.
The relationship with his family, his parents and his sisters Angela, Teresa and Katerina is obviously excellent.
Particularly important are the portraits that Egisto painted for them. "Father Giuseppe" and "Mother Mariana" appear in the Civica Quadreria Noalese, known for their lively and strong looks.
In 1897 Lancerotto participated for the first time in the Venice Biennale, an event that was a tribute to the artist's fame but also marked his decline: the international exhibition in fact highlighted a more modern image that was gaining momentum in painting .
For a time Lancerotto left Lagoon City (1905), no doubt in his recognition, and remained in Brianza, at least two preserved in Noir "In Brianza" And the painting "Brimonio in Brianza" proves this.
Canvases from this period are found in the "Galleria Cittadina d'Arte Moderna di Milano" and at the Quirinale in Rome.
He attended the Academy of Fine Arts in Venice at a very young age and made his debut with the painting "Noale, Municipio", with vivid colors in the style of Favrette.
In the following years he exhibited in Vienna, Paris, Munich and regularly participated in the Venice International.
In the 1880s he turned to scenes of Venetian life, recreating its folklore and sunny impressionist scenes.
He prefers genre paintings, interiors of female figures and portraits, which he portrays with playful femininity.
The city of Noale wanted to honor the painter of Noale origin by establishing a museum still under construction, in which the artist's work is represented by 24 drawings and 70 canvases, mainly portraits and scenes of daily life.
Lancerotto's fame owes all to his representation of popular life and his ability to stop the slow passage of time with a few touches, a "realism" that distinguished him and led to his presentation at the Venice Biennale.
He died in Venice on 31 May 1916.