Portrait of Felicina Caglio Perego di Cremnago - Francesco Hayez
Archival giclée
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Description
A refined 1830 portrait by Francesco Hayez, capturing the elegance of the Italian aristocracy through precise brushwork and balanced composition.
Francesco Hayez, a leading figure of Italian Romanticism, painted this portrait of Felicina Caglio Perego di Cremnago in 1830. The work demonstrates his technical precision and his ability to capture the social standing of the Milanese aristocracy during the early nineteenth century. Hayez was known for his academic training, which is evident in the controlled brushwork and the balanced composition of the sitter. The subject is depicted in a three-quarter view, seated against a neutral, muted background that directs the viewer's attention to her features and attire. She wears a dark, off-the-shoulder gown, which contrasts with the soft texture of the fur stole draped across her shoulders. Her hair is styled in the tight, ringlet curls fashionable during the Biedermeier period. The gold bracelet on her wrist and the decorative clasp on her dress provide subtle points of light, breaking the dominance of the dark fabric. Hayez avoids excessive ornamentation, focusing instead on the psychological presence of the sitter. Her expression is calm, with a hand resting near her chin in a gesture of quiet contemplation. The lighting is soft and directional, modelling the form of the face and the volume of the sleeves with clarity. This portrait reflects the artist's transition from neoclassical rigour to the more emotive, individualised approach that defined his later career. The painting remains a clear example of the portraiture style favoured by the Italian elite, where social status was communicated through understated elegance and refined material detail rather than overt display. The work is currently held in a private collection, representing a period when Hayez was firmly established as the premier portraitist in Milan.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Portrait of Felicina Caglio Perego di Cremnago - Francesco Hayez
Our Features
Designed for Lasting Impact
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
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Artist Biography
Francesco Hayez
Hayez was born in Venice in 1791, the youngest of five sons. His father was a fisherman of French origin; his mother came from Murano. The family was poor enough that the boy was placed with an uncle, the antiquarian Giovanni Binasco, who hoped to train him as a restorer. Instead, Hayez won a scholarship to the Accademia di San Luca in Rome in 1809, where he spent long hours studying Raphael in the Vatican Stanze and visiting the workshop of the sculptor Antonio Canova.
He settled in Milan in 1820 and became the leading figure of Italian Romanticism. His large historical paintings, depicting subjects from medieval Italian history, functioned as allegorical commentary on the Risorgimento, the movement for Italian unification. The use of historical costume allowed him to evade Austrian censorship while communicating patriotic ideas that his Milanese audience decoded without difficulty.
In 1850 he became director of the Brera Academy, a position he held for decades. He rarely signed or dated his works, and often painted the same composition multiple times with minimal variation, which has complicated scholarly assessment. He died in Milan in 1882, at ninety, having witnessed the unification he had painted.
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