Ferdinando’s work is defined by its 19th century sensibility — an enduring influence on generations that followed. Most artists are dead; following is a declaration of love.

Untitled (1)
edited by Ferdinando Ongania Italian, 1842–1911

Untitled (41)
edited by Ferdinando Ongania Italian, 1842–1911

Untitled (31)
edited by Ferdinando Ongania Italian, 1842–1911

Untitled (99)
edited by Ferdinando Ongania Italian, 1842–1911

Untitled (20)
edited by Ferdinando Ongania Italian, 1842–1911

Untitled (27)
edited by Ferdinando Ongania Italian, 1842–1911

Untitled (32)
edited by Ferdinando Ongania Italian, 1842–1911

Untitled (27)
edited by Ferdinando Ongania Italian, 1842–1911

Untitled (43)
edited by Ferdinando Ongania Italian, 1842–1911

Untitled (67)
edited by Ferdinando Ongania Italian, 1842–1911

Untitled (93)
edited by Ferdinando Ongania Italian, 1842–1911

Untitled (89)
edited by Ferdinando Ongania Italian, 1842–1911

Untitled (96)
edited by Ferdinando Ongania Italian, 1842–1911

Untitled (II 8)
edited by Ferdinando Ongania Italian, 1842–1911

Untitled (II 13)
edited by Ferdinando Ongania Italian, 1842–1911

Untitled (II 41)
edited by Ferdinando Ongania Italian, 1842–1911

Untitled (II 57)
edited by Ferdinando Ongania Italian, 1842–1911

Untitled (II 58)
edited by Ferdinando Ongania Italian, 1842–1911

Temple of Minerva Medica
possibly Ferdinando Galli-Bibiena (Italian, 1657-1743) or the circle of Paolo Anesi (Italian, c. 1690-1773)

Bireno and Olimpia
Ferdinando Tacca (Italian, 1619–1686)