Teofilo Patini (1840–1906)
Buon samaritano/ Good Samaritan, c. 1885
Oil on canvas
119 x 158 cm
Banca Popolare Adriatico, Pesaro
The parable of the Good Samaritan is a didactic story told by Jesus in Luke 10:25–37. It is about a traveler who is stripped of clothing, beaten, and left half dead alongside the road. First a priest and then a Levite comes by, but both avoid the man. Finally, a Samaritan comes by. Samaritans and Jews generally despised each other, but the Samaritan helps the injured man. Jesus is telling the parable in response to the question from a lawyer, "And who is my neighbour?" whom that should be loved. Jesus answers his question in who is his neighbour, but also tells him to love his neighbour.
The parable has inspired painting, sculpture, satire, poetry, and film. The colloquial phrase "good Samaritan", meaning someone who helps a stranger, derives from this parable, and many hospitals and charitable organizations are named after the Good Samaritan. More on the Good Samaritan
Teofilo Patini (Castel di Sangro, Abruzzo May 5, 1840 – Naples, November 16, 1906) was an Italian painter, active in a Realist style.
He was born to a landowning family of some wealth. In 1855, he began classical studies in Sulmona under the Latin scholar, Leopoldo Dorrucci. Patini's father had taken a position as chancellor of the Royal Judiciary in that town. He acquired a diploma of “Belle Lettere”, and then enrolled in the University of Naples to study philosophy, then transferred to study at the Academy of Fine Arts in Naples. This move, however, was not approved by his family.
Teofilo Patini (1840–1906)
Bozzetto per scena storica/ Sketch for historical scene
Oil on panel
17 x 28 cm
Private collection
Teofilo Patini (1840–1906)
The revolt of Masaniello, c. 1863
Oil on canvas
38.5 X 65
Patiniana Art Gallery
On July 7th Masaniello staged a demonstration in the fruit market of Naples where two of his relatives refused to pay the excise on fruit. Things escalated into a riot with street urchins pelting the police called to restore order. Genoino arrived to orchestrate the protest but Masaniello took things into his own hands - and led a mob of nearly a thousand which ransacked the armouries and opened the prisons, leaving him in charge of the city. More on this painting
Teofilo Patini (1840–1906)
The company of deathOil on canvas
130 x 210 cm
Private collection
At the age of 20 years, Teofilo, along with Antonio Tripoti, enlisted in the volunteer forces of Garibaldi: the Cacciatori del Gran Sasso, which was organizing an insurrection in Abruzzo. Later he was to join for four months in the National Guard of Castel di Sangro, with forces attempting to repress the rampant rural brigandage.
During a competition at the Academy, his painting of Edward III of England and the Deputies of Calais won him a stipend for two years (1868 – 1869) to study in Florence. In 1870, his canvas of ‘’La Zingara’’ gained him a scholarship to travel to Rome from 1870 to 1873. In Rome, he painted Nello studio di Salvatore Rosa, which was awarded first prize in an 1872 exhibition in Rome. In Rome, he began a relationship with Teresa Tabasco, a model of the Academy. Years later, they married.
In 1872, he was afflicted with the ophthalmologic infection, trachoma, a disease of the eye. This curtailed painting to some degree, although he painted La guardiana delle oche (1873), Case di campagna (1874), I notabili del mio paese (1878). A few years later, by the age of 39, he was allowed by his doctor to restart painting. His painting became progressively focused on the lives of the poor peasants, fore example, Il ciabattino (See below) (exhibited at 1873 Mostra of the Promotrice).
In 1882, he was named director of the Scuola di Arti e Mestieri of L'Aquila. In 1884, he was commissioned by the Ministry of Agriculture to visit the art museums of Germany.
In 1880, at Turin, he exhibited: Ogni buon stivale doventa ciabatta, Lo studio di Salvator Rosa, and La prima lezione di equitazione. In 1881 at Milan he displayed L' Erede. This canvas depicts a peasant, sprawled dead on a mat on the foreground, while to his side, his wife grieves in a corner while her naked baby lies supine. The bleak reality of rural poverty prompted a contemporary critic, to label this a protest work, a legitimate descendant of the Proximus Tuus. The bronze statue by Achille D'Orsi depicts an exhausted peasant, sitting with a hoe. In 1884 at Turin, Patini exhibited Vanga e Latte (a breast-feeding mother and her working man) (See above), and finally at Venice: Beasts of burden (See above), in which three peasant women recall the pose and exhaustion of Proximus Tuus, and the paintings of Millet. Other paintings such as The Three Orphans (See below), painted in earthy tones, reiterate this subject matter of empathy with the poor.
Patini struggled financially as a painter. He developed cardiac ailments in later decades. In addition to his genre subjects, and despite some anticlerical positions, he also painted sacred subjects: for San Demetrio ne’ Vestini in Calascio, for the Sanctuary of the Madonna della Libera in Pratola Peligna, for the Duomo and the church of Santa Maria della Concezione at L’Aquila. he painted canvases of the Crucifix for the basilica of San Pelino, near Corfinio; Il Purgatorio o Redenzione, The Guardian Angel, St Carlo Borromeo among the plague victims, L’Immacolata e Santi.
His native town of Castel di Sangro has a stadium and a school (liceo), named after the painter. More on Teofilo Patini
Teofilo Patini (1840–1906)
Christ resurrects the son of the widow of Naim,
Oil on canvas
cm. 68 x 97
Private collection
The raising of the son of the widow of Nain is an account of a miracle by Jesus, recorded in the Gospel of Luke. Jesus arrived at the village of Nain during the burial ceremony of the son of a widow, and raised the young man from the dead. (Luke 7:11–17)
The location is the village of Nain, two miles south of Mount Tabor. This is the first of three miracles of Jesus in the canonical gospels in which he raises the dead, the other two being the raising of Jairus' daughter and of Lazarus. More on raising of the son of the widow of Nain
During a competition at the Academy, his painting of Edward III of England and the Deputies of Calais won him a stipend for two years (1868 – 1869) to study in Florence. In 1870, his canvas of ‘’La Zingara’’ gained him a scholarship to travel to Rome from 1870 to 1873. In Rome, he painted Nello studio di Salvatore Rosa, which was awarded first prize in an 1872 exhibition in Rome. In Rome, he began a relationship with Teresa Tabasco, a model of the Academy. Years later, they married.
Teofilo Patini (1840–1906)
Woman in the snowy village
Oil on panel
cm. 30.8 x 20.6
L'Aquila, art collections of the Cassa di Risparmio Foundation for the Province of L'Aquila
Teofilo Patini (1840–1906)
The first riding lesson
Oil on canvas
cm. 49x84
Vercelli - Civic Museum, Burgundy;
Teofilo Patini (1840–1906)
Cobbler, c. 1872/73
Oil on canvas
62 x 49.5 cm
Banca Popolare Adriatico, Pesaro
In 1882, he was named director of the Scuola di Arti e Mestieri of L'Aquila. In 1884, he was commissioned by the Ministry of Agriculture to visit the art museums of Germany.
Teofilo Patini (1840–1906)
Vanga e Latte/ Spade and milk, c. 1883
Oil on canvas
213x372 cm, Rome
Ministry of Agriculture and Forests, Rome, Italy
Teofilo Patini (1840–1906)
The heir, c. 1880
Oil on canvas+132 × 176 cm.
Rome - National Gallery of Modern Art
"Heir to what? of work, of suffering, of misery, but which in itself contains the germ of the great social reforms ", wrote Patini presenting L'erede, the painting he fired in 1880 which" marked one of the greatest successes in nineteenth-century Italian art. sensational "since he was awarded in the National Exhibition of Milan in 1881, to the point that" the Artist, whose notoriety was restricted to Naples and Rome [...] became famous in a day and acclaimed by all ". More on this painting
Teofilo Patini (1840–1906)
Beasts of burden, c. 1886
Oil on canvas
244 × 416 cm.
Prefecture building, L'Aquila, Italy
The moving and mercilessly " realist " observation of the miseries of the vanquished of Abruzzo - the homeland from which he left very young - characterized the painting of Teofilo Patini, first a pupil of Giuseppe Mancinelli at the Royal Institute of Fine Arts in Naples, then close to the realism of his fellow countryman Filippo Palizzi. The work is part of a group of studies for the great main work "Beasts of burden", created in 1886.
Beasts of pack (the important painting made in 1866, presented at the Venice National Exhibition the following year and bought by the provincial administration of L'Aquila) is, in fact, the first of a trilogy that with Vanga e latte (See above) and L heir (See above) determines the true pictorial figure of the artist from L'Aquila. More on this painting
In 1880, at Turin, he exhibited: Ogni buon stivale doventa ciabatta, Lo studio di Salvator Rosa, and La prima lezione di equitazione. In 1881 at Milan he displayed L' Erede. This canvas depicts a peasant, sprawled dead on a mat on the foreground, while to his side, his wife grieves in a corner while her naked baby lies supine. The bleak reality of rural poverty prompted a contemporary critic, to label this a protest work, a legitimate descendant of the Proximus Tuus. The bronze statue by Achille D'Orsi depicts an exhausted peasant, sitting with a hoe. In 1884 at Turin, Patini exhibited Vanga e Latte (a breast-feeding mother and her working man) (See above), and finally at Venice: Beasts of burden (See above), in which three peasant women recall the pose and exhaustion of Proximus Tuus, and the paintings of Millet. Other paintings such as The Three Orphans (See below), painted in earthy tones, reiterate this subject matter of empathy with the poor.
Teofilo Patini (1840–1906)
Pulsations and heartbeats
Oil on canvas
121.5 x 151 cm
Castel di Sangro
Continuing the discourse started in the Heir (See above) Patini intended, in this case, to highlight how, in a society with rulers unable to coordinate the world of work and conceive of any form of security, it inevitably failed, with this farmer. The only possibility of support for the old, condemned, for the waning of the forces necessary for the hard work of the fields, to a slow consumption of starvation. More on this painting
Teofilo Patini (1840–1906)
The Kidnapping or Naked Patriotism
Oil on canvas
cm. 105x155
Bari, Provincial Art Gallery
Teofilo Patini (1840–1906)
Three orphans
Oil on canvas, cm
89.5 x 119
Castel di Sangro, Civic Art Gallery
The painting highlights the pallet from which the body of their lost parent has just been taken away.
Patini struggled financially as a painter. He developed cardiac ailments in later decades. In addition to his genre subjects, and despite some anticlerical positions, he also painted sacred subjects: for San Demetrio ne’ Vestini in Calascio, for the Sanctuary of the Madonna della Libera in Pratola Peligna, for the Duomo and the church of Santa Maria della Concezione at L’Aquila. he painted canvases of the Crucifix for the basilica of San Pelino, near Corfinio; Il Purgatorio o Redenzione, The Guardian Angel, St Carlo Borromeo among the plague victims, L’Immacolata e Santi.
Teofilo Patini (1840–1906)
Jesus Christ crucified, c. 1897
Oil on canvas
cm 300.0x160.0
Cattedrale Basilica di San Pelino.
Christ on the cross is surrounded by a loincloth supported by a cord; his feet are separated, pierced by two nails.
His native town of Castel di Sangro has a stadium and a school (liceo), named after the painter. More on Teofilo Patini
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