Francesca Alexander, “Charity” (1861), oil on canvas (© 1985 Sotheby’s Inc; picture courtesy Sotheby’s Inc.)
English artwork critic John Ruskin as soon as wrote that she possessed “a quite heavenly gift of genius in a kind I had never before seen”; American diplomat John Lothrop Motley known as her a “person of unquestionable genius.” At this time, Francesca Alexander just isn’t well-known, however within the late 1800s, her artworks and acts of charity had been celebrated on each side of the Atlantic. Historian Jacqueline Marie Musacchio’s considerate biography The Artwork and Lifetime of Francesca Alexander 1837–1917 (2025) brings the artist’s story out of the shadows and illuminates the fascinating cross-cultural context wherein she labored.
Like Alexander herself, her drawings, work, and books have a quiet subtlety that captures an American lady’s insider view of Tuscany within the late nineteenth century, when each Italy and the world had been on the precipice of nice change. Born in Boston in 1837 as the one youngster of a well-to-do household, her father was a profitable portrait painter who doubtless helped foster his daughter’s inventive expertise, although she by no means obtained formal coaching. When Alexander was 16 years outdated, the household relocated to Florence, Italy. Musacchio emphasizes the notable variations between the Alexanders and different prosperous American expatriates residing in Italy on the time: Whereas lots of their friends remained in English-speaking enclaves and held classist and anti-Catholic views, the Alexanders spoke fluent Italian and maintained shut ties with Italians of all stripes, from political and cultural elites to these combating poverty.
Francesca Alexander, “Cinderella” (picture courtesy Wellesley Faculty Particular Collections)
This latter group was particularly vital to Alexander. Pals and guests usually commented on her distinctive relationships with the Italian contadini, or peasants, who had been the artist’s associates and fashions. Musacchio shrewdly anticipates the reader’s skepticism, writing that “today her activities might be seen as indicative of a savior complex” however insisting “her empathy was genuine and her charity was essential for those who received it.” For many years, Alexander drew portraits of those people, wrote in depth biographies of them, and recorded their conventional tales and songs. Alexander’s first main publication, The Story of Ida (1883), associated the life and early demise of a younger seamstress good friend, whereas her longtime friendship with the people improvisatrice singer Beatrice di Pian degli Ontani impressed Tuscan Songs, an expansive bilingual songbook with drawings and musical notations. She solicited donations from rich associates overseas and used gross sales from her artworks and publications to offer cash, meals, clothes, medication, and different requirements to these round her in want. Musacchio clarifies all through the e book that though Alexander took her eventual fame in her stride, it was by no means her objective.
Musacchio’s crucial eye is particularly essential in rendering the function of Ruskin, who approached Alexander with what she calls an “almost predatory enthusiasm.” Ruskin grew to become infatuated with Alexander after their first assembly in Florence in 1882, and his promotion and publication of her work sparked her rise to fame in each the US and the UK. Musacchio particulars the problematics of Ruskin’s strategies: He made excessive edits and elisions to her work, refused to pay her any proceeds from the sale of her books, and referred to her in letters and lectures as a “girl” although she was 45 years outdated once they met.
Some of the pleasurable elements of the e book is an excerpt from an 1883 letter to a good friend concerning the hordes of curious and typically impolite individuals who flooded into Alexander’s studio after Ruskin’s attentions. On this snippet, the artist — who by no means married or left her dad and mom’ dwelling — exhibits herself to be witty and intelligent, defying those that mischaracterized her as childlike and inexperienced.
By the point of her demise in 1917, Modernism was taking maintain in European artwork and World Conflict I used to be taking its toll. Alexander’s delicate figurative drawings and elite expatriate lifestyle had been not in model. “Francesca says we have outlived our world, and belong to another century,” her long-lived mom wrote in a 1906 letter. Nonetheless, the artist made her personal humble mark. As she famous in her preface to Tuscan Songs, “I have done my best to save a little of what is passing away.”
Francesca Alexander, title web page for La Sorellaccia (1877), photogravure (picture courtesy Wellesley Faculty Particular Collections)
Francesca Alexander, “Saint Agnese” (1861), ink on paper (picture courtesy Wellesley Faculty Particular Collections)
Cowl of The Artwork and Lifetime of Francesca Alexander 1837–1917 by Jacqueline Marie Musacchio (Lund Humphries, 2025)
The Artwork and Lifetime of Francesca Alexander 1837–1917 (2025) by Jacqueline Marie Musacchio is revealed by Lund Humphries Publishers and is out there on-line and thru unbiased booksellers.
