費德里高·贊多美奈吉

Private Collection, France

Galerie Cazeau-Béraudière, Paris

Acquired from the above by the present owner circa 2000

Fondazione Enrico Piceni, Federico Zandomeneghi, Catalogo generale, nuova edizione aggiornata e empliata, Milan, 2006, no. 373, illustrated p. 284 and in color p. 127

Original canvas. Under UV light, a pin sized retouching is visible to the right of her eye. Otherwise in very good condition.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

A regular exhibitor at Impressionist group shows from 1879 onwards, Zandomeneghi had arrived in bustling Paris in 1874 from his native Venice. He quickly aligned himself with the artists of the Parisian avant-garde. Femme allongée is a masterful example of Zandomeneghi’s fusion of Impressionist naturalism with the fin-de-sièclesubject of female interior life.

His contact with the Italian Macchiaioli nurtured a commitment to saturate his canvases with light and color. While his working habits and inspirational affinities linked him with Degas and Renoir, Zandomeneghi’s works nevertheless retain an individuality closely connected with his Italian roots. Pondering his career the artist recalled, "looking, listening, arguing, I was transformed like all other artists, from Pissarro to Degas, from Manet to Renoir; my artistic life was a series of infinite evolutions that cannot be analysed, that cannot be explained... As for my technique, a very vague term, the one I used was my own, I did not borrow it from anyone" (quoted in Enrico Piceni, Zandomeneghi, Bramante, 1991, p. 60). A turning point in his career came when he was introduced by good friend Edgar Degas to the dealer Durand-Ruel: this meeting marked the beginning of his Impressionist exhibitions where Zandomeneghi was received favorably. Influential critic and writer J.K. Huysmans, for instance, remarked in a review of the Indépendants exhibition of 1880, "the Indépendants have found in that conscientious artist Federico Zandomeneghi, a precious recruit," (quoted in ibid., p. 64,) high praise from a most fastidious reviewer.