Federico Zandomeneghi


Venezia 1841 – Parigi 1917

“By watching, listening, discussing, I changed and my artistic life, just like everybody else’s life, from Pissarro to Degas from Manet to Renoir, was a sequence of endless evolutions which cannot be analysed or explained but depend on the environment, on specific circumstances that nobody can exactly realise”

F. Zandomeneghi, 1914

On the eve of his departure for Paris, on June 2nd 1874, the thirty-three year old Zandomeneghi wrote to his Tuscan artist friend, Francesco Gioli: «I have taken this brilliant decision and I am immediately putting it into effect before second thoughts lead me to settle in Florence. I’ve no idea how long I’ll stay in Paris, as I’m departing without any fìxed plans. So I’m leaving my fate to fortune!»
The artist never returned to Italy. From that moment onwards, he lived and worked in Paris, where he died on January 2nd 1918 and was buried in the Saint-Ouen Cemetery. It snowed at the funeral; the cortège consisted of a small gathering of colleagues and models… It looked like a Utrillo painting. The fìrst world war was drawing to its close, but the war this artist had fought had ended long ago. Federico Zandomeneghi was a Venetian, and the cause he had fought for had been Garibaldi’s. About Zandomeneghi himself we know very little.
Withdrawn, touchy, fundamentally timid but at the same time capricious, sharp and self-assured, he was disdainful of other people’s opinions. He never married, nor did he allow himself to become emotionally involved – except with his art. His only friend was the great Degas, another cantankerous individual. These two inseparable characters argued their way through half a century, and when the death of the French artist deprived him of any further interest in life, the Italian followed him barely two months later.
When preparing my fìrst monograph on Zandomeneghi, I combed Paris fruitlessly for information about the artist (the monograph was published by Arnoldo Mondadori, who became an assiduous collector of Zandomeneghi’s paintings). Fortune was evidently not on my side, however. The old concierge in the rue Tourlaque, where the painter had his studio, still had a painting by him but what little she remembered about him only confìrmed his reputation as a difficult recluse.
Suzanne Valadon, painter, artists’ model (she posed for Zandomeneghi in L’aperitivo [The aperitif] and La brasserie [The brasserie] ) and mother of Utrillo, described him as a «dessinateur exceptionnel». Diego Martelli, friend, patron and critic of the Macchiaioli, provides an illuminating account of Zandomeneghi’s unpredictable character: «Grazielle, one of the city’s prostitutes, was at the café this evening, exhausted from having gone without food for eight days. All she had had was the occasional glass of beer and a few scraps of bread. At a certain point some of her fellow creatures arrived holding bouquets of flowers. They were drinking heavily and making a dreadful rumpus with their rowdy cackling. Grazielle was by that time suffering the most acute pains in her legs and she began to cry… Zandomeneghi immediately organised a collection for her which raised fìve francs» (Letter to Mrs. Gioli, Paris 1877).
Zandomeneghi was not over-communicative with his relations and in 40 years never wrote to them. Whenever members of his family visited him in Paris he refused to talk about his art, on the grounds that they wouldn’t understand it. He would enquire about Venice and about his friends back in Italy. He even referred to the possibility of returning to his native city, but realised that he would be received as the prodigal son rather than welcomed in triumph. The reasons for Zandomeneghi’s departure to Paris can be explained by his early development. His father and grand-father had both been distinguished Neoclassical sculptors. Federico quickly learned the rudiments of art, but he was uninterested in sculpture, academic painting – or even in his own family; neither did the tedious atmosphere of his native city have much to offer him. He participated in the Garibaldi campaign, and his adventurous spirit subsequently involved him in other controversial issues. Eventually he found his way to Florence and the convivial company of the Macchiaioli.
In Florence, Signorini, Lega, Banti and Borrani were his most frequent companions on his painting expeditions. During this period he completed several important pictures, such as La leggitrice (Woman reading), Gli innamorati (The lovers) and Bastimento sullo scalo (Boat on the slipway); a study for the last of these works is included in the companion exhibition. These works are the expression of his combined Venetian and Florentine experiences.
Hence, at the age of thirty-three, after having fought and painted in Venice, Rome and Florence, Zandomeneghi, nicknamed Ghigo, had acquired a certain renown; even the most exacting of critics had come to appreciate his talent. Diego Martelli had returned from Paris with news about a new group of painters whose works, exhibited in the studio of the celebrated photographer Nadar, had provoked a veritable scandal in the art world; they had been christened the Impressionists, the term derived from Monet’s painting Impression: soleil levant (Impression: sunrise), a derisory reference to their manner of «daubing».
Zandoemenghi dutifully obeyed thc artistic summons to Paris, with the intention of staying there for two weeks. The Impressionist struggle suited the peripatetic Zandomeneghi perfectly and «le Venetien», as Degas called him, was admitted to the group exhibitions.
It was Degas who introduced Zandomeneghi to Durand-Ruel, a turning point in the artist’s career. He participated in the Impressionist exhibitions held in France and America, and in group or one-man exhibitions at Durand-Ruel’s, which ultimately provided him with the stability and independence to be able to concentrate on his painting. Despite his connections with the Impressionists, Zandomeneghi did not forsake his Venetian-Florentine origins, and only adopted such new ideas as could enrich his already well matured artistic vocabulary. His favourite subjects were taken from turn of the century feminine petit-bourgeois life. Whereas Boldini’s predilection was for provocative glimpses of feminine sensuality, and De Nittis preferred the elegant parisiennes of the Bois de Boulogne, Zandò painted ordinary women and girls observed in the intimacy of everyday life. With certain exceptions, ironic or aggressive elements rarely appear in his works. One such exception is his Moulin de la Galette, which brings Toulouse-Lautrec to mind, even though the latter was only fifteen at that date. Years later, when Lautrec took a studio in the Rue Tourlaque, he acknowledged his indebtedness to the Italian. The fierce and wasted features of Zandomeneghi’s Roussotte are another exception. Some of his nude studies possess the same stark qualities of directness with occasional moments of compassion.
These were, however, brief episodes of ruthless expression. The artist’s approach was usually more gentle and restrained; for example, the lazy awakening of a young girl, the innocent pleasure of undoing ber long red hair in front of the mirror, tasting a freshly picked fruit or chewing on a stalk of grass; a favourite motif showed the model with face cupped between her hands. His exquisite results were obtained by oils applied with the delicacy of pastels, or by pastels used as densely as oil. Humble, everyday scenes – but Zandomeneghi was one of those rare and proudly anti-rethorical painters whose art succeeded in ennobling the commmonplace. Perhaps Zandomeneghi could have achieved immediate success if he had persisted in his aggressive approach to social realism. Instead he preferred to withdraw to a closed domestic world, the quiet composure of which – unimagined by him and his contemporaries – in fact produced intimate expressions of a more lasting quality. Paradoxically, these works have afforded him the recognition of greatness which is today acknowledged.

Enrico Piceni, 1981

1841
Federico Zandomeneghi was born in Venice on June 2nd from a family of artists. In fact his father Pietro and his grandfather Luigi are considered sculptors inspired by Canova, authors of the monument to Tiziano in the Chiesa dei Frari.

1857
The young Federico, who despite his familiar history prefers paint brushes and colours to the chisel, attends the Academy of Fine Arts in his city. He studies with Michelangelo Grigoletti and Pompeo Molmenti, who will be the first one to appreciate him, by openly praising his spirit and courage.

1859
After enrolling on the University of Pavia to avert the compulsory conscription in the Austro-Hungarian army, in April he joins the Tuscan volunteers for the independence moviments in Modena.

1860
In May he moves to Milan to attend the courses of Brera Academy. In July, after writing a letter full of patriotic feelings to his parents, he leaves to join the soldiers in Garibaldi’s army in Sicily.

1862
Unable to get back to Venice because charged with desertion, he moves to Florence. Here he gets in touch with the Macchiaioli anti-academic group (Signorini, Fattori, Lega, Banti, Borrani, Sernesi, Cabianca), who meet at Caffè Michelangiolo. The Tuscan stay lasts until 1866. His work La lettrice probably dates back to 1865 and, like Gli Innamorati of the following year, distances itself from the still current fashion of the historic painting.

1866
He joins Garibaldi for the Third Independence War.

1867-1873
He travels between Florence and Venice, with some stays in Rome, where he paints, among the others, I poveri sui gradini dell’Ara Coeli (or Impressioni di Roma, 1872), a work with a strong realistic and social tone that will be displayed in 1875 at the Brera Art Gallery.

1874
On June 2nd, the day of his thirty-third birthday, he leaves for Paris wanting to stay there only few weeks. On the contrary it will be a one-way trip. He arrives in the French capital – hardened by the Macchiaioli experience but ready to grasp the new winds blowing beyond the Alps – the same year of the first Impressionist exhibition “chez Nadar”. At first he stays at the Hotel de Bruxelles, in rue de Clichy, then he moves to rue de la Victoire. He soon becomes a regular client of the Café de la Nouvelle Athènes, where the “rebellious painters” meet. He gets friendly with Cézanne, Renoir and especially with Degas, whose painting he soon greatly admires.

1878
He settles down at 25 of the Passage de l’Élysée, at Montmartre. He earns a living designing for some fashion magazines. In April the art critic Diego Martelli arrives in Paris where he will stop for about a year. In September Zandomeneghi finishes the Moulin de la Galette, an extraordinary and intrepid work especially for the photografic slant and the very personal use of colours.

1879
He paints the Ritratto di Diego Martelli al caminetto (Florence, Modern art gallery). At the invitation of Degas, he takes part in the fourth collective exhibition of the Impressionists, by presenting Violettes d’hiver.

1880
He sends some paintings to the fifth Exhibition of the Impressionists, among which Madre e figlia, a successful demonstration of a modern sensitivity, more than worthy of the revolutionary ideas of the Nouvelle Peinture, also for the courageous layout. His works are appreciated by the French art critic J.K. Huysman. He lives in Place d’Anvers, whose small park represents the background of the famous painting named after the square (Piacenza, Ricci Oddi Gallery). The following year the work will be presented at the sixth Exhibition of the Impressionists.

1883
He moves to 7, rue Tourlaque, not far from Toulouse Lautrec’s atelier. The art critic François Gaudi and Susanne Valadon live at the same address. This latter, Utrillo’s mother, will be a model for him.

1884
He uses the pastel technique with more and more frequency and skill, looking for more ethereal and insubstantial effects than the ones he could obtain by oil painting.

1886
In October he stays in the Chevreuse valley, about fifty kilometres from Paris, with the impressionist painter Armand Guillaumin and dedicates himself to en plein air painting.

1888
In July Paul Durand-Ruel buys Zandomeneghi’s first work, a Buste de femme, a usual subject in the production of the Venetian, capable like no other to immortalize the subtle feelings of restlessness, the lazy desires of the so many ladies and young girls crowding his paintings.

1893
The Durand-Ruel Gallery organises the first solo-exhibit of the artist.

1894
Now definitely recruited in the Durand-Ruel’s team, Zandomeneghi enters the official French Market.

1895
He spends the summer with his sister Tonina in Gif, in the Chevreuse valley, where he will regularly return for his holidays.

1898
Second solo-exhibit at Durand-Ruel Gallery.

1903
Third solo-exhibit.

1906
He sends two works to the Iternational Exposition in Milan, but he does not receive any consents.

1908
The Rosenberg Gallery proposes an individual exhibition dedicated to the artist. The critic Vittorio Pica enters into correspondence with him.

1909
He starts corresponding with Ugo Ojetti.

1914
Vittorio Pica with Angelo Sommaruga sets up an exhibition dedicated to Zandomeneghi at the Venice Biennal. Contrary to the artist’s expectations, his “return home” is not a triumph at all.
The painter more and more frequently dedicates himself to still life paintings with such amazing results that sometimes can be defined “pre-Cubist”.

1917
On 30th September Degas dies.
Zandomeneghi realises his last known painting, Hommage à Toulouse Lautrec, extreme proof of sobriety and synthetic ability in line with the signs of the times.
On 31st December he is found dead at the foot of his bed.

1880
J.K. Huysmans, L’exposition des Indépendants en 1880, in “L’ Art Moderne”, pp. 119-120
D. Martelli, Gli Impressionisti, testo della conferenza tenuta al Circolo Filologico di Livorno (in A. Boschetto a cura di, Scritti d’arte di Diego Martelli, Sansoni, Firenze, 1952, pp. 98-110)

1881
J.K. Huysmans, L’exposition des Indépendants en 1881, in “L’Art Moderne”

1914
U. Ojetti, Undicesima Biennale di Venezia. Gli Italiani, in “Corriere della Sera”, a. XXXIX, n. 161, 13 giugno
V. Pica, Artisti contemporanei: Federico Zandomeneghi, in “Emporium”, vol. XL, n. 235, luglio
E. Thovez, Un Impressionista: Zandomeneghi, in “La Stampa”, a. XLVIII, n. 112, 23 aprile

1922
Mostra Zandomeneghi alla Galleria Pesaro, in “Emporium”, vol. LV, n. 327, marzo

1928
E. Somaré, Federico Zandomeneghi, in Storia dei pittori italiani dell’Ottocento, vol. I, Edizioni d’Arte Moderna

1929
R. Giolli, Il ritorno di Zandomeneghi, in “Poligono”, a. III, nn. 1-2, gennaio-febbraio
G.E. Mottini, Luci e colori dell’800. Federico Zandomeneghi, in “Lidel”, a. XI. n. 4, 15 aprile
E. Persico, Zandomeneghi, in “Poligono”, marzo
E. Persico, Federico Zandomeneghi, in “L’Indice”, a. I, n. 5, 20 marzo

1930
D. Bonardi, La rivendicazione di un maestro: il pensoso Ottocento di Zandomeneghi, in “La Sera”, a. 38, n. 302, 20 dicembre
E. Piceni, Zandomeneghi alla Galleria Pesaro, in “Giovedì”, a. I, n. 31, 11 dicembre
E. Piceni, Il ritorno di un grande pittore italiano, in “Illustrazione Fascista”, a. III , n. 31, 21 dicembre
M. Sironi, La mostra Zandomeneghi, in “Il popolo d’Italia”, a. XVII, n. 304, 23 dicembre

1931
A. Carpi, Zandomeneghi, in “Rassegna dell’Istruzione Artistica”, dicembre
E. Persico-R. Giolli Discussioni: Federico Zandomeneghi contro l’Ottocento, in “Poligono”, gennaio

1932
L. de Selly, Un pittore dell’Ottocento. Zandomeneghi, in “La Gazzetta del Mezzogiorno”, a. XI, n. 94, 4 aprile
U. Ojetti, Zandomeneghi, in “Corriere della Sera”, 12 marzo
C. E. Oppo, Zandomeneghi uomo e artista, in “La Tribuna”, a. 51, n. 99, 27 aprile
E. Piceni, Zandomeneghi, Arnoldo Mondadori, Milano
E. Somaré, Zandomeneghi (1841-1917), in “L’Esame”, a. V, n. 3 , aprile

1934
A. Toniolo, Un pittore veneziano dell’Ottocento. Federico Zandomeneghi, in “Il Gazzettino Illustrato”, 19 agosto
E. Somaré, Zandomeneghi, Istituto Italiano d’Arti Grafiche, Bergamo

1938
R. Giolli, Lettere inedite di un italiano vissuto a Parigi, in “L’Illustrazione Italiana”, 17 luglio

1952
E. Piceni, Zandomeneghi, in “La Biennale di Venezia”, a. III, n. 8, aprile, Venezia
Picus, Gregario? No, in “Candido”, a. VIII, n. 30, 7 luglio
E. Piceni, Federico Zandomeneghi, in “Gazzetta di Bergamo”, a. III, n. 8, agosto
S. Branzi, Zandò sulla nuova via, in “La Fiera Letteraria”, 14 settembre
M. De Micheli, Il garibaldino Zandomeneghi e il parigino Zandò, in “Realismo”, n. 3, settembre
E. Piceni, Zandomeneghi, Mondadori, Milano

1959
G. Perocco, Zandomeneghi, Cassa di Risparmio di Padova e Rovigo, Istituto Nazionale d’Arti Grafiche, Bergamo

1960
M. Cinotti, Zandomeneghi, Bramante, Milano

1961
L. Budigna, Rivalutazione definitiva della pittura di Zandomeneghi, in “Settimana Incom Illustrata”, 11 giugno

1964
M. Cinotti, Zandomeneghi, ein Italiener im Paris der Impressionisten, in “Epoca”, ed. tedesca, n. 2, febbraio, Monaco di Baviera

1967
L. Bocchi, Una grande retrospettiva del pittore veneziano, in “Corriere della Sera”, a. 92, n. 125, 28 maggio
M. Borgiotti, Incantesimi dell’Ottocento pittorico italiano, Milano
R. Joos, Parigi non ha dimenticato il veneziano Zandomeneghi, in “Il Gazzettino”, a. 81, n. 145, 21 giugno
G. Mascherpa, La dolce grazia di Zandomeneghi, in “L’Italia”, a. LXI, n. 159, 7 luglio
M. Valsecchi, Il parigino Zandò, in “Tempo”, a. XXIX, n. 40, 3 ottobre
G. Perocco, La pittura veneta dell’Ottocento, Milano
E. Piceni, Zandomeneghi, Bramante, Milano

1968
R. Carrieri, Un veneziano a Parigi: Zandomeneghi diventa Zandò, in “Epoca”, a. XIX, n. 938, 15 settembre

1977
R. Bossaglia, Quel pennello tra Tiziano e Degas, in “Corriere della Sera”, a. 102, n. 276
A. Sala, Zandò sessant’anni dopo, in “Il Giorno”, a. XXII, n. 274, 3 dicembre

1978
R. De Grada, Zandomeneghi Internazionale, in “Giorni”, a. VIII, n. 2, 11 gennaio

1979
E. Piceni, Zandomeneghi. L’uomo e l’opera, Bramante, Busto Arsizio

1981
E. Piceni, Il veneziano che anticipò Toulouse Lautrec, in “Casaviva”, n. 42, agosto

1983
E. Piceni-M. Cinotti, in La donazione Arnoldo Mondadori, Palazzo Te, Mantova

1984
R. De Grada, Un veneziano amico di Degas, in “Corriere della Sera”, a. 109, n. 255, 31 ottobre

1988
G.L. Marini, Zandò definitivamente impressionista, in “Giornale dell’Arte”, a. VI, n. 55, aprile

1989
F. Dini, Zandomeneghi, la vita e le opere, Edizioni Il Torchio, Firenze

E. Piceni, Zandomeneghi, Milano

1991
G. Matteucci, Montmartre: universo impressionista di Zandò, in “800 italiano”, a. I, n. 4, dicembre
E. Piceni, Zandomeneghi (ristampa a cura di R. Capitani e M.G. Piceni), Bramante, Busto Arsizio

1998-1999
F. Dini, Zandomeneghi “peintre” dell’avanguardia impressionista, in catalogo della mostra (Livorno, 1998-1999), pp. 76-88
G. Matteucci, “Intender non la può chi non la prova…”, in catalogo della mostra (Livorno, 1998-1999), pp. 9-28

2001
S. Bietoletti, Gli anni parigini di Zandomeneghi, in catalogo della mostra (Trento, 2001), pp. 55-63
G. Belli, Impressionisti? No grazie!, in catalogo della mostra (Trento, 2001), pp. 11-15

2003
F. Castellani, “Italiens de Paris”? , in catalogo della mostra (Ferrara, 2003), pp. 69-94
M. Ferretti Bocquillon, De Nittis, Boldini e Zandomeneghi (1867-1917), in catalogo della mostra (Ferrara, 2003), pp. 113-144

2004
F. Dini, Il mondo di Zandomeneghi, in catalogo della mostra (Castiglioncello, 2004), pp. 9-46

2004-2005
F. Castellani, Un veneziano a Parigi, in catalogo della mostra (Roma-Milano, 2004-2005), pp. 11-18
N. Colombo, Paul Durand-Ruel, moderno mercante della “Nouvelle Peinture”, in catalogo della mostra (Roma-Milano, 2004-2005), pp. 19-26

2005
R. De Grada, Federico Zandomenghi, Un passo avanti oltre la cultura dell’impressionismo, in catalogo della mostra ( Roma, 2005-2006), pp. 15-17

2006
Fondazione Piceni (a cura di), consulenza di Roberto Capitani, Federico Zandomeneghi. Catalogo generale, Scheiwiller, Milano

2007
T. Sparagni, Federico Zandomeneghi e il suo mondo: percorso, temi e relazioni, in catalogo della mostra (Barletta, 2007)
F. Castellani, L’aristocratico e il moschettiere. Renoir e Zandomeneghi, in catalogo della mostra (Barletta, 2001)

2015
S. Madeddu, De Venise à Milan: le retour de Zandomeneghi en Italie. Des années de jeunesse à la redécouverte posthune, Tesi di Dottorato, relatore Prof. Berthélémy Jobert, Université Sorbonne-Paris IV, Parigi, 28 novembre

2016
F. Dini, Per il centenario di Zandomeneghi, in catalogo della mostra (Padova, 2016-2017), pp. 12-35
F. Mazzocca, La fortuna critica di Zandomeneghi dal dibattito sul realismo alla consacrazione degli impressionisti, in catalogo della mostra (Padova, 2016-2017), pp. 37-45

1871
Milano, Esposizione delle Opere di Belle Arti nelle Gallerie del Palazzo Nazionale di Brera
Firenze, Esposizione Solenne della Società d’Incoraggiamento delle Belle Arti

1873
Vienna, Esposizione Universale di Vienna

1879
Parigi, Avenue de l’Opéra, 4me Exposition de Peinture par M. Bracquemond, M. Caillebotte, M. Cals, Mlle Cassat, M.M.Degas, Forain, Lebourg, Monet, Pissarro, Feu Piette, Rouart, H. Somm, Tillot et Zandomeneghi, 10 aprile-10 maggio

1880
Parigi, 10 Place des Pyramides, 5me Exposition de Peinture par Mme M. Bracquemond, M. Bracquemond, Mlle Cassat, M. Degas, M.M. Forain, Gauguin, Guillaumin, M.M. Lebourg, Levert, Mme Berthe Morisot, M.M. Pissarro, Raffaëlli, Rouart, Tillot, Eug. Vidal, Vignon, Zandomeneghi, 1 aprile-30 aprile

1881
Parigi, Boulevard des Capucines, 6me Exposition de Peinture par Mlle Cassat, M.M. Degas, Forain, M.M. Gauguin, Guillaumin, Mme Berthe Morisot, M.M.Pissarro, Raffaëlli, Rouart, Tillot, Eug.Vidal, Vignon, Zandomeneghi, 20 aprile-30 maggio

1886
Parigi, 1, rue Laffitte, 8me Exposition de Peinture par Mme Bracquemond, Mlle Cassat, M.M. Degas, Forain, Gauguin, M. Guillaumin, Mme Berthe Morisot, M.M. C. Pissarro, Lucien Pissarro, Odilon Redon, Rouart, Schuffnecker, Seurat, Signac, Vignsn, Zandomeneghi, 15 maggio-15 giugno

1893
Parigi, Galerie Durand-Ruel, Exposition des Tableaux, Pastels, Dessins de Federico Zandomeneghi, prefazione di A. Alexandre, 3-20 maggio

1897
Parigi, Galerie Durand-Ruel, Exposition des Tableaux, Pastels, Dessins de Federico Zandomeneghi, seconda personale del pittore, febbraio-marzo

1903
Parigi, Galerie Durand-Ruel, Exposition des Tableaux, Pastels, Dessins de Federico Zandomeneghi, novembre

1908
Parigi, Galerie Rosenberg, Federico Zandomeneghi, ottobre

1914
Venezia, XI Biennale, Mostra individuale di Federico Zandomeneghi, a cura di V.Pica

1922
Milano, Galleria Pesaro, Mostra postuma di Federico Zandomeneghi, a cura di V. Pica, febbraio

1930
Milano, Galleria Pesaro, Esposizione di E. Cosomati, A. Feltrinelli, F. Zandomeneghi e dello scultore M. Amman, a cura di G.Nicodemi-R.Calzini, dicembre

1952
Venezia, XXVI Biennale, Federico Zandomeneghi, a cura di E. Piceni e F. Wittgens, 14 giugno-19 ottobre

1967
Parigi, Galerie Duran-Ruel, Zandomeneghi, a cura di E. Piceni, 24 maggio-28 luglio

1977
Milano, Galleria Sacerdoti, Federico Zandomeneghi, presentazione di E. Piceni

1984
New York, Stair Sainty Matthiesen, Three Italians Friends of the Impressionists. Boldini, De Nittis, Zandomeneghi, a cura di G. Matteucci-E. Steingräber, 14 marzo-20 aprile

1986
Montecatini Terme-Torino, Azienda Autonoma di Cura e Soggiorno-Mole Antonelliana, Dal Caffè Michelangelo al Caffè Nouvelle Athènes. I Macchiaiioli tra Firenze e Parigi, a cura di P.Dini, 23 agosto-5 ottobre, 25 ottobre-30 novembre

1988
Venezia-Milano, Ca’ Pesaro-Palazzo Reale, Zandomeneghi. Un veneziano a Parigi, a cura di R. De Grada-G.Mazzariol-G.Pavanello-G.Romanelli-M.G.Piceni, 14 maggio-21 agosto, 13 settembre-30 ottobre
Montecatini Terme, Azienda Autonoma di Cura e Soggiorno, La donna e la moda nella pittura italiana del secondo ‘800 nelle collezioni private, a cura di P.Dini, 30 luglio-30 settembre.

1991
Cortina d’Ampezzo, Museo d’Arte Moderna Mario Rimoldi, Zandomeneghi e Spadini nella collezione Arnoldo Mondadori, a cura di G. Matteucci, 11 agosto-10 settembre.

1998-1999
Livorno, Villa Mimbelli, Museo Civico “Giovanni Fattori”, Aria di Parigi nella pittura italiana del secondo Ottocento, a cura di G.Matteucci, 4 dicembre-5 aprile.

2000-2001
Roma-Parigi, Galleria Nazionale d’Arte Moderna-Museo d’Orsay, Italie, 1880-1910. Arte alla prova della modernità, a cura di Pingeot e G. Piantoni, 22 dicembre 2000-11 marzo 2001, 9 aprile-15 luglio 2001.

2001
Trento, Palazzo delle Albere, Boldini, De Nittis, Zandomeneghi. Mondanità e costume nella Parigi fin de siècde, a cura di G.Belli, 12 aprile-29 luglio.

2003
Ferrara, Palazzo dei Diamanti, Degas e gli italiani di Parigi, a cura di A. Dumas, 14 settembre-16 novembre

2004
Castiglioncello, Centro per l’arte Diego Martelli, Castello Pasquini, Dai Macchiaioli agli Impressionisti. Il mondo di Zandomeneghi, a cura di F. Dini, 17 luglio-31 ottobre.
Milano, Fondazione Mazzotta, Federico Zandomeneghi. Impressionista veneziano, a cura di E. Sacerdoti e T. Sparagni, 20 febbraio-20 giugno.

2005-2006
Roma, Chiostro del Bramante, Federico Zandomeneghi. Un veneziano tra gli impressionisti, a cura di R. Miracco e T. Sparagni, 5 novembre-5 marzo.

2007
Barletta, Palazzo della Marra, Pinacoteca G.De Nittis, Zandomeneghi, De Nittis, Renoir. I pittori della felicità, a cura di T. Sparagni-E.Angiuli, 31 marzo-15 luglio.

2016-2017
Padova, Palazzo Zabarella, L’impressionismo di Zandomeneghi, a cura di F.Dini-Fernando Mazzocca, 1 ottobre-29 gennaio.