Moses Bianchi - The Mother

The subject can be defined as a genre scene, that is, the depiction of an episode of everyday life that, apparently, lacks any significant element. These types of domestic subjects were long considered minor and only began to spread in Western art starting in the 17th century. Only with the development of 19th-century realism did everyday subjects become considered as important as historical or religious ones.

Minor productions are often extremely valuable, as they shed light on an artist's diverse, non-canonical and more experimental languages. In this lithograph by Bianchi, for example, we can see how the painter, unlike his canvas work, achieves a strong plasticity in his subjects. The most remarkable aspect is that Bianchi achieves this volumetric construction through a highly structural hatching technique, which creates the forms and places them on different planes. The mother and child are enclosed in a compact geometric structure.

Mosè Bianchi (Monza 1840-1904). He studied at the Induno brothers' school and developed a taste for narrative compositions depicted with a highly naturalistic rendering. His work (including works such as A Choral Singing Lesson, The Eve of the Festival, The Clearing of the Altar, Cleopatra, and The Lady of Monza) falls squarely within the Romantic cultural sphere of the melodramatic genre of pseudo-historical painting. Furthermore, Mosè Bianchi was part of a group of painters who, towards the end of the 19th century, devoted themselves to didactic themes, but did so with a profound pictorial research, updated with the innovations of Impressionism and Post-Impressionism.

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