(Venice 1854–1929 San Remo) “After the Game” 1887, signed F. Zonaro twice (some letters in the upper signature lightly overwritten) oil on canvas, 80 x 134 cm, framed, (W)

Compare: Rodolfo Falchi - Ubaldo Spigno, Le tre stagioni pittoriche di Fausto Zonaro, Circaberto Allemandi & Co, Torino 1993, ill. 8, Dopo il gioco. We are grateful to Mrs Valerie Falchi Wadsworth for her assistance in cataloguing this work. She writes of this painting: On the photograph taken at Elisa‘s time there is no second signature on the parasol, therefore this is perhaps a first version of the painting, and the artist wanted to authenticate his later alterations. The photograph of the painting “La Coda del Diavolo” is dated 1886. “Dopo il gioco” is dated a year later. Did Zonaro reconsider? The girl’s loose hair in the second version creates a perfect atmosphere of abandonment and calm after the exertions of the game on a hot summer’s day. In the descriptions of Zonaro’s paintings published in the exhibition catalogue “Dipinti dell’Ottocento e del Novecento dei Musei Civici Padova” (1999 ), R. Falchi writes as follows: “...the cheerful composition of the girl in summer clothing with parasol documents Zonaro’s skill in drawing the female figure. The painting belongs to his first period, the time in which he painted “Infilatrici di Perle”, “Grazie Campestri” and ”Dopo il Gioco”. The characters in the painting are graceful girls from the Veneto. Simple and modest rural models, in contrast to the glittering academic and Renaissance models. The colouring is also unspoilt and restrained, backed up by a realistic portrayal and executed “en plein air” - so typical of many compositions of this period. The combining of various simple natural elements suggest a unique symbolic expressiveness, and ascribes to Fausto Zonaro’s conception of “nulla dev’essere...”. Exhibition of the paintings “La Coda del Diavolo” and “Dopo il Gioco” in Fausto Zonaro’s studio in Constantinople, Akaretler no.50, in 1908.