The Kiss Francesco Hayez (1791-1881)
Francesco Hayez – The Kiss
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Painter: Francesco Hayez
Location: Pinacoteca di Brera, Milano.
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Hayes, a native of France, was raised not by his own mother but by his own aunt. Since his adolescence, he gravitated toward drawing. This prompted his uncle to send the young Francesco to be apprenticed to a restorer. After some time he became an apprentice to Francesco Maggiotto. In the position of apprentice he spent three years. The painting "The Kiss" was created in 1859. The genre of performance is Italian Romanticism.
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Description of Francesco Hayes’ painting "The Kiss"
Hayes, a native of France, was raised not by his own mother but by his own aunt. Since his adolescence, he gravitated toward drawing. This prompted his uncle to send the young Francesco to be apprenticed to a restorer. After some time he became an apprentice to Francesco Maggiotto. In the position of apprentice he spent three years.
The painting "The Kiss" was created in 1859. The genre of performance is Italian Romanticism. The painter wrote three additional copies of this painting. Two of them are now in private collections. The third copy (a young girl depicted in an off-white dress) was painted for the Mulius family in 1861. It was sold at auction by Sotby`s in the United Kingdom in 2008.
The author considered this picture the most important of all his paintings. It managed to combine romanticism, naturalism, which is inherent in the Italian region of that time, to draw attention to love. The couple depicted in the painting represent Romeo and Juliet. Francesco Hayes tried to show how the Italian nation is reborn, to unite in the painting the love for the homeland and for man.
There are elements of symbolism in the painting. Looking at the clothes we can immediately identify the era - it is the Middle Ages. However, the iconography of the painting tells us that it is painted in the modern world. The colors used by the painter hint transparently at the Pact of Plombières (Italy-France), known for the birth of the Italian nation.
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The setting itself contributes significantly to the works atmosphere. The figures are positioned against a stone wall, partially shadowed, which creates a sense of enclosure and privacy. A set of steps ascends out of view on the right side of the composition, suggesting an exit or transition that is currently unavailable to the pair. The limited depth of field further emphasizes their isolation within this space.
The artist’s handling of light and color reinforces the emotional weight of the moment. Soft, diffused lighting illuminates the faces and upper bodies of the figures, highlighting the tenderness of their embrace while leaving much of the surrounding area in shadow. The cool tones of the womans gown contrast with the warmth of the mans cloak, creating a visual distinction that may symbolize differences in character or social standing.
Subtleties within the composition hint at underlying narratives. The way the man’s arm encircles the woman’s waist suggests possessiveness and protection. Her hand gently placed on his shoulder indicates trust and surrender. The architectural backdrop, with its suggestion of a medieval setting, evokes themes of courtly love, secrecy, and perhaps even forbidden romance.
The painting conveys an overwhelming sense of immediacy and emotional intensity. It is not merely a depiction of physical affection but rather an exploration of the profound connection between two individuals in a moment suspended outside of time and circumstance. The restricted space and muted palette contribute to a feeling of hushed intimacy, inviting contemplation on the complexities of human desire and vulnerability.