Artwork

Portrait of the Artist's Second Wife (Ritratto della seconda moglie)

Portrait of the Artist's Second Wife (Ritratto della seconda moglie) is an ink print by Giovanni Fattori. It is held in the collection of the National Gallery of Art.

About this work

Overview

Giovanni Fattori’s 1903 etching titled *Portrait of the Artist’s Second Wife* presents a half‑profile view of a woman, her hair gathered back and her gaze directed slightly away. Rendered in monochrome on tan wove paper, the image captures the sitter’s calm yet serious demeanor through a combination of light and shadow, with the artist’s signature placed discreetly in the lower corner.

Subject & Meaning

The work depicts Fattori’s second wife, offering a personal glimpse into his domestic sphere. The restrained expression and modest pose suggest a quiet intimacy, emphasizing the sitter’s inner composure rather than overt sentimentality, aligning with the artist’s interest in realistic representation of everyday individuals.

Technique & Style

Executed as an etching, the piece employs loose, sketch‑like lines that vary in density, creating a nuanced tonal range. The artist’s proof on wove paper shows uneven ink application, with darker patches accentuating facial features and lighter areas preserving the paper’s natural yellowish hue, illustrating Fattori’s command of line and wash within the printmaking medium.

History & Provenance

Created as an artist’s proof in 1903, the print likely remained in Fattori’s personal collection before entering the public domain. Documentation traces its ownership through several private hands, reflecting the work’s circulation among collectors of Italian 19th‑century prints before its acquisition by the present institution.

Context

At the turn of the 20th century, Fattori, a leading figure of the Macchiaioli movement, turned increasingly toward portraiture and intimate subjects. This etching exemplifies his late‑period focus on personal themes, contrasting with earlier landscape‑focused works and demonstrating his continued exploration of line and tonal contrast within the print medium.