This study analyzes Francesco Hayez's I
Profughi di Parga - a masterpiece of historical romantic painting and first manifestly
patriotic production of the artist - in the light
of unpublished documents and letters preserved in the State Archives of Brescia. The
work, since its presentation to the public,
was perceived by critics as revolutionary,
both in the open alignment with the proHellenic cause, and in the barely veiled
references to the Italian political situation.
The documents confirm and expand what
is already known with respect to the in-depth
research carried out by the painter. Furthermore, they reveal new scenarios with
respect to the cultural expectations that,
around the painting, were already emerging
in the years of gestation, in a dense network
of information and reflections between the
client Conte Paolo Tosio, the painter, and
a varied group of mutual friends, artists,
observers and informants. In a growing
and widespread awareness of the quality,
meaning and role of the work, the letters also
reveal details on the iconographic choices
made by Hayez and his autonomous positions with respect to Tosio's requests