Francesco’s younger brother, for a long time considered as being mediocre by comparison, is today acknowledged as being a cultured and coherent artist, even though he came to art rather late in life after studying law. He had no formal art training.

He lived with his brother and was influenced by him stylistically in his early landscape studies. He took part in lively art debates with friends and colleagues and was interested in the painting of the Macchiaioli, in particular in Fattori, as is reflected in his preference for military scenes and views of the Maremma.

In 1889 he took part in the Paris Universal Exhibition with “Ritorno dal pascolo” (Return from the Meadows) and also in 1889, in Paris, was awarded a prize for “Scene di Maremma” (Views of the Maremma). From that time on he regularly took part in the most important Italian exhibitions and, in particular, in those of the “Società di Belle Arti di Firenze”. In 1894 he sent “Nei prati” (In the Meadows) and “Fiera di vacche” (The Cattle Show) to Milan; in 1895 he exhibited “Novembre” at the First Venice Biennial.

The success of Gioli’s prolific output has made him a point of reference for two successive generations of Post-Macchiaioli artists who often reduce his incisive figures to a banal stereotype.

Written by: Gioela Massagli – Translated by: Catherine Biggerstaff

© Studio d’Arte dell’800