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Carlo FacchinettiHappy hours in the family. Oil painting, XIX century. Italian school Realism
Happy hours in the family (“Ore liete in famiglia”, in italian) Oil on canvas Cm 82 x 100 with frame cm. 72 x 90 without frame Signed bottom right: “C. Facchinetti” Bibliography: Opere dell’Ottocento, Galleria MB s.l. (Nineteenth-century works, Gallery MB s.l.), 1994, pages 54, 55; Raccolta di dipinti dell’800, Modena – Milano, 18 febbraio – 5 aprile 2012, Venezia, 2012 (Collection of 19th century paintings, Modena - Milan, 18th February - 5th April 2012, Venice, 2012), pages 24,25 Born in Florence in 1870, Carlo Facchinetti was a pupil of Giuseppe Ciaranfi, who gave him the love for realism. After his academic studies, the painter approaches the “Verista” (Realism) style by adopting the themes related to family and rural life, with a series of paintings characterized by scenes of everyday life and popular set in dark and miserable interiors where the scene is illuminated by the soft light of a window, like this painting "Happy hours in the family". Far from the transmutation of the poetics of Divisionism, the painter in this canvas remains faithful to his own characteristic themes, subjects that do not prevent him from creating works characterized by a fluent intimacy, enveloped in warm lyricism. The particular use of striated color becomes in Facchinetti the most suitable means to construct his own story of everyday life, artistically dominated by the balance between form and color, between shadow and light, often generated by an open window that illuminates the dark interiors where the painter usually stages his representation. "Happy hours in the family" is a typical example of the production of Facchinetti who dedicates most of his paintings to scenes of daily life and domestic especially the poorest and most deprived, described with a meticulous technique that focuses on every small detail. With quick brushstrokes of color the painter represents the shabby floor, of a pale blue grayed by dust, the fabrics of the clothes, the modest furniture illuminated by the light of the window on the left, the holy image that rejoices the wall of a dirty plaster, the fireplace on the background with hanging clothes that fills the bottom of a warm, reddish light. The same room is used by the painter as a fifth of the scene in some paintings stylistically precedent to ours. The viewer, can almost enter in the humble kitchen marked by time and fully immerse him/herself in those moments of daily life, made of laughter and cheerfulness of the young protagonists, with attention given to the small child in the foreground, while in the background the the painter concentrates on describing the figure of an old man sitting at the table, who seems to be extraneous to the delicacy of the scene. The simple stories narrated by Facchinetti, free from any social and ethical complaint, do not want to be a social condemnation of the conditions of the most indigent classes, but a representation of the good feelings that the painter makes with short, broken, dotted and dashed marks of pure colors that, arranged one next to the other, divided rather than mixed, come to compose themselves with greater brightness, fusing together. Facchinetti died in his hometown in 1935.
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