Portrait of the Third Wife by Giovanni Fattori: an intimate testimony of love and dignity

Giovanni Fattori's Portrait of His Third Wife portrays Fanny Martinelli, the artist's companion and third wife, in a composed and collected pose. The woman is seated on a red velvet armchair adorned with white lace, her hands folded in her lap and her gaze averted, lost in distant thoughts. The surrounding setting is intimate and cozy, characterized by the presence of a painting hanging in the background that recalls elements dear to the artist. The atmosphere conveys a quiet serenity combined with profound intimacy, avoiding any dramatic emphasis to emphasize the emotional authenticity of the relationship between the painter and the woman portrayed.

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Style
The work belongs to the mature phase of the Macchiaioli movement, of which Fattori is a leading figure, known for the direct and realistic use of color and natural light through patches of color. This technique combines solid compositional structure with an accurate rendering of details, giving the portrait a balance between formal precision and particular attention to the psychological dimension of the subject. Painted in 1905, the artwork reflects Fattori’s realist sensitivity, avoiding idealization to show the reality of loved ones with respect and humanity, in an Italy that had long since moved beyond the Risorgimento era.

Color and lighting
The color palette is based on sober and natural tones, dominated by the black of the dress and the deep red of the armchair, which becomes a focal element, along with the white accents of lace and collar. The light falls softly and diffusely, gently modeling Fanny’s face and hands, creating refined contrasts without drama. The illumination emphasizes the skin slightly marked by time, the texture of the fabric, and the intimate details of the dress and surroundings, highlighting a calm and collected atmosphere that invites an emotional rather than purely visual reading.

Management of space
The depth is moderate and treated delicately: the subject is placed in the foreground, clearly delineated from the nostalgic and intimate background. The environment opens up with a few well-defined elements, enough to confer a sense of intimacy and presence without distracting from the central image. The combination of the figure and the simple background allows an empathetic connection with the portrayed woman, as if it were a private space suspended in time.

Composition and framing
The composition develops with static balance, centering the figure of the woman in a slightly angled frontal position that grants naturalness and spontaneity. The visual harmony derives from the contrast between the verticality of the body and the softness of the surrounding elements, such as the armchair and the folds of the dress. The intimate half-figure framing amplifies psychological closeness, while the averted gaze invites the viewer to perceive an attentive inner reflection.

Technique and materials
The painting is executed in oil on canvas and demonstrates Fattori’s extraordinary skill in combining fluid and soft brushstrokes with luminous and controlled color areas. The use of oil allows for a refined rendering, favorable to depicting fabrics, skin, and soft surfaces such as velvet and lace. This technique underlines the three-dimensionality and tactile reality of the elements, never losing the essential precision and clarity for a portrait that seeks to convey intense humanity.

This work is a touching portrait offering an intimate and respectful glimpse of a female figure lived through love and time, a sign of the realist and poetic painting that established Giovanni Fattori as one of the great Italian masters of the 19th century.