Nicolino calyo biography of william

Calyo received formal training in art at the Naples Academy.

Nicolino Calyo, an American nineteenth-century landscape painter, who was born in Naples brought the typical European style of art to the American scene.

Born in Naples, Nicolino Calyo was an accomplished American nineteenth-century view painter who brought the practice of his classical European training to.

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(American born Italy, - )

The portrait, landscape, and panorama painter Nicolino Calyo, a descendant of the Viscontes di Calyo of Calabria in southern Italy, was born in Naples, where he studied at the Royal Academy. He traveled through Europe, and lived briefly in Malta and Spain. He immigrated to the United States in and set up a studio in Baltimore. On June 16, , the Baltimore Republican reported that Calyo was on his way north to paint views of Philadelphia and New York. He arrived in the latter city in time to record the damage of the Great Fire of December , and two of these paintings were reproduced in aquatint by William James Bennett (). From to Calyo is listed in the New York City directories as a “portrait and landscape painter” or “professor of painting.” In the late s he was working with his Italian-born son John A. Calyo () as “N. Calyo & Son,” historical painters and teachers. During this period, his home in New York became a gathering place for exiled Europeans

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Nicolino Calyo’s career reflects a restless spirit of enterprise and adventure. Descended in the line of the Viscontes di Calyo of Calabria, the artist was the son of a Neapolitan army officer. Calyo received formal training in art at the Naples Academy. His career took shape amidst the backdrop of the political turbulence of early nineteenth century Italy, Spain, and France. He fled Naples after choosing the losing side of struggles of –21, and, by was part of an Italian exile community in Malta. This was the keynote of a peripatetic life that saw the artist travel through Europe, to America, to Europe again, and back to America.

Paradoxically, Calyo’s stock-in-trade was close observation of people and places, meticulously rendered in the precise topographical tradition of his fellow countrymen, Antonio Canale (called Canaletto) and Francesco Guardi. In search of artistic opportunity and in pursuit of a living, Calyo left Malta, and, by , was on the opposit

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“Deceived by Misrepresentations”: An Examination of Nicolino Calyo’s "Servants at a Pump"

Abstract

This paper examines the negotiation of visual culture and public space bygd African Americans in förekrigstida New York through the nineteenth-century painting Servants at a Pump by Italian-American artist Nicolino Calyo. During the nineteenth century, artistic modes of expression and social codes regarding the use of public green space sought to limit the representation and visibility of racial minorities. In visual culture, the mode of genre painting attempted to beställning and confine certain groups of people. At the same time, mandated and informal laws excluded African Americans and people of low socioeconomic classes from participating in the growing trend of public parks. These overarching conventions segmented the population and exacerbated social divides. Nicolino Calyo’s painting Servants at a Pump from engages with genre painting techniques and contemporary park politics but d