Fausto Zonaro (1854–1929) was an Italian painter who held the title of Court Painter in the Ottoman Empire during the late 19th and early 20th centuries. After receiving a classical art education in Europe, he settled in Istanbul during the reign of Sultan Abdulhamid II, where he came under the patronage of the palace. He produced works that spanned a wide range—from scenes of daily life in the Ottoman Empire to depictions of historical events.
During his time in Istanbul, Zonaro engaged not only with the palace circles but also with the local art scene, and he trained students. His paintings exhibit both Impressionist influences and traces of the Orientalist style.
Early Life and Art Education
Fausto Zonaro was born in 1854 in the small town of Masi in the province of Padua, in northern Italy, into a modest family. Growing up in an environment where his father worked as a construction foreman, he developed an early interest in painting. At the age of seventeen, he enrolled in a technical school in nearby Lendinara, about twelve kilometers away, where he studied graphic design and painting. His talent quickly became evident, and with the support of his teacher, Cordenons, he was admitted to the Accademia Cignaroli in Verona.
There, he studied in the studio of renowned painter Napoleone Nani and grew up alongside artists who would later become well-known figures, such as Alessandro Milesi, Giacomo Favretto, and Angelo Dall’Oca Bianca. During his training, he was influenced by contemporary movements such as Impressionism and the Macchiaioli. His time in Venice and Naples drew attention to his urban and nature-themed works. In the 1880s, he began exhibiting in Rome and Paris, entering the international art world. The techniques and themes he developed during this period laid the foundation for the artistic approach he would later bring to Istanbul.
Arrival and Settlement in Istanbul
In 1891, Fausto Zonaro arrived in Istanbul through the initiative of his wife and former student, Elisa Pante. Zonaro viewed the Ottoman Empire as a stage full of historical and visual opportunities for his art. Elisa had arrived in Istanbul about two months earlier and had rented a small room in Yüksekkaldırım, establishing their first home. Zonaro began producing art there shortly afterward, and his works were first offered for sale in the window of Zellich Bookstore.
He quickly adapted to everyday life in Istanbul. One of his early notable works from this period was The Woman Stringing Pearls, inspired by a Venetian painting that depicted a common woman.
In 1892, the prominent German illustrated magazine Leipziger Illustrierte Zeitung featured Zonaro’s painting Il Banditore (The Town Crier) on its cover, increasing his international visibility. The art lessons he provided to members of foreign embassies in Istanbul further enhanced his reputation. During this time, Pangury Bey presented two albums of Zonaro’s work to Sultan Abdulhamid II, marking the first step toward his introduction to the imperial court.
Court Painter Period
In 1896, Zonaro’s painting The Ertugrul Cavalry Regiment crossing the Galata Bridge, presented to Sultan Abdulhamid II through Grand Vizier Said Pasha, earned the sultan’s appreciation. As a result, Zonaro was officially appointed "Ressam-ı Hazret-i Şehriyari" (Painter to His Imperial Majesty). He was granted a residence in Akaretler and a monthly salary of 40 Ottoman liras. He was now a formally appointed palace artist.
Zonaro’s responsibilities extended beyond portraits or historical scenes. He was also tasked with producing visual symbols that reinforced the sultan's legitimacy and authority.
The Ertugrul Cavalry Regiment crossing the Galata Bridge (pcryl)
Despite the increasing use of photography in the palace during this period, Zonaro’s artistic practice developed in a context where painting still retained its representational power. He documented court ceremonies, military units, Istanbul landscapes, and scenes of daily life. As such, he became a part of the visually productive system centered around Yıldız Palace.
Zonaro also engaged with figures from various social classes and groups beyond the palace elite, producing diverse works. During this period, he learned Turkish and formed close ties with members of the Ottoman elite.
Second Constitutional Era and Return to Italy
The proclamation of the Second Constitutional Era in 1908 brought significant political changes to the Ottoman Empire and directly affected Zonaro’s position. Sultan Abdulhamid II’s rule of over thirty years, which had prioritized the preservation of the state through centralized governance, had also been a time of institutional and cultural modernization. As court painter, Zonaro was involved not only in artistic production but also in the symbolic visual language of the Ottoman regime.
Sultan Abdulhamid II actively used art as a means of legitimization, viewing photography and painting as strategic tools for both internal and external propaganda. Under this patronage, Zonaro played a key role in shaping the visual culture of the period.
However, after the 1908 revolution, individuals and institutions closely associated with Abdulhamid’s regime began to lose relevance. In 1909, following the sultan’s deposition, all officials connected to Yıldız Palace, including Zonaro, were dismissed.
Following a formal request to vacate his residence, Zonaro left Istanbul in 1910 and returned to Italy. There, he continued to paint scenes inspired by his memories of the Ottoman period.
Themes and Style
Zonaro’s art bridges the visual cultures of both late 19th-century Europe and the Ottoman Empire. His work centers around three main themes: historical events, scenes of daily life in Istanbul, and individual portraiture. He created a rich iconography of urban life, with works depicting bathhouse scenes, street criers, and dervish rituals.
Stylistically, Zonaro was influenced by academic realism, absorbed during his studies in Italy, and by French Impressionism, which he encountered in Paris. His use of light, tonal transitions in outdoor scenes, and loose brushstrokes reflect the Impressionist influence. However, his figure arrangements and spatial compositions often adhered to academic principles.
Amusement on the Caique Fausto Zonaro (picryl)
Notable Works
Even in works that approach the exotic tendencies of classical Orientalism, Zonaro’s direct engagement with his surroundings imbues his paintings with a unique sense of sincerity. As a result, his works are valued not only for their aesthetic qualities but also as socio-cultural archives.
Zonaro produced approximately 2,400 works over his career, with a significant portion created during his time in Istanbul. Key works include:
- The Ertugrul Cavalry Regiment crossing the Galata Bridge
- The Dervishes
- The Woman Stringing Pearls
- The Town Crier (Il Banditore)
He also created several notable paintings of Mehmed the Conqueror at the request of Abdulhamid II.
Mehmed II, Entering to Constantinople
Perhaps Zonaro’s most famous historical painting, it depicts the Fall of Constantinople on May 29, 1453. The composition shows Sultan Mehmed on horseback entering the Byzantine capital in a grand and determined manner. The dramatic scene includes Janissaries, city walls, and crowds, with the sultan positioned as the central figure. Commissioned by Abdulhamid II, the painting was included in the Yıldız Palace collection.
Mehmed II, Entering to Constantinople (Photo: Nazlı Kemerkaya)
Mehmed II and the Genoese Diplomat
This painting portrays a diplomatic meeting between Sultan Mehmed and representatives of the Genoese colony in Galata, emphasizing not just military power but also the sultan’s political acumen. Zonaro carefully arranged the space and used gestures, clothing, and expressions to convey a formal atmosphere.
Portraits of Mehmed II
Zonaro painted several versions of Mehmed II’s portrait, balancing traditional Ottoman iconography with Western portraiture. These works have been interpreted as a deliberate dialogue with Gentile Bellini’s famous portrait of the sultan.
Portraits of Mehmed II (Photo: Nazlı Kemerkaya)
Legacy and Contribution
Zonaro was not merely an outsider Orientalist gazing at the East from a distance. He lived in Istanbul, spoke Turkish, and interacted closely with the local art community. This distinguishes him from many of his contemporaries.
His art fulfilled the Ottoman state’s visual representation needs during a time of modernization under Abdulhamid II. Zonaro’s paintings serve as sociological and historical documents. At a time when photography was still limited, his work became a rich visual source that captured both the physical appearance and cultural codes of the Ottoman Empire.
Zonaro also contributed to art education and the institutionalization of artistic life in Istanbul. He taught significant figures such as Mihri Müşfik Hanım and Celâl Esad Arseven in his Akaretler studio, organized exhibitions, and helped professionalize the local art scene.
Zonaro died in Sanremo in 1929 at the age of 75. He left behind not only a substantial body of art but also a vivid visual archive of the late Ottoman era. His long period of creativity alongside his wife Elisa has left a lasting impression on Ottoman visual history. Though his name faded from public view for some time after his death, archival research and exhibitions in the late 20th century revived interest in his work. Today, most of his paintings are held in the National Palaces Painting Museum.
