Born in Turin on August 10, 1836, from a family valsesiana, died in the same city December 14, 1910. All ?? age of fifteen, he left his studies for the painting, before attending the academy ?? of Pisa (1851), then for four years studying Alexandre Calame in Geneva (1852-57), where he met Fontanesi. In the same period stays in the Netherlands and Belgium, and, in 1855, in Paris, where the Universal Exposition has chance to admire the greatest exponents of French naturalism, Corot and landscape painters of Fontainebleau (Courbet, Rousseau, Huet, Daubigny). The Parisian stay is crucial: to return to Geneva deviates from Calame and tightens relationships, as well as with Fontanesi, with G. Castan and B. Menn, the two students most francesizzanti of Calame. For two years (1858-59), his paintings have refused the Promoter of Fine Arts in Turin, city then stronghold of calamismo, which exhibit then more regularly. Between 1857 and 1860 he moved to Rome (we will return in 1865), where he attended the artistic entourage ?? Nino Costa, however making frequent stays in Piedmont next to the painters of Rivara, painting in Canavese and Vercelli. Since 1861 he moved to Turin, where alongside all ?? painting activity the study and collecting of ?? ancient art, which led him to take on numerous public and private commitments: in 1865 is committed to reorder the Bargello Museum in Florence; in 1872 buys and restores with A. D'Andrade Issogne castle in Val d'Aosta, then donating it to the State; by the restoration of the palace Silva Domodossola and home Cavassa in Saluzzo (1885); D'Andrade in 1884 collaborated with the construction of the medieval village in Turin. From 1890 to the death is the director of the Museum of Turin. At the Venice Biennale are dedicated a monographic exhibition, with fifty-three works, in 1912, and a posthumous exhibition in 1952. E ?? Landscape of great value, a refined sensibility and thin, and imprint his works in a personal lyricism. We can distinguish in him three ways: the first "calamista", the second "naturalist" (from 1855), the third 'individual' (Stella), extended to the representation of the interpretative nature. He is considered, alongside Delleani, one of the "renovators painting Piedmont 800 '. His paintings are in collections preserved state and private Italian and foreign. In the Gallery of Modern Art in Rome: The valley of Pussino (1874); in the Gallery of Modern Art in Turin ??: A Fiumicino (1879); Campaign Gattinara (1867); Countess Sophie of Bricherasio; The pasture. His other notable works are in the collection Turri Milan: Landscape; in the collection of Delleani Carignano: The campa¬gna Roman (1860); The Teverone (1861); Prati di Castello (1886); in the collection of the Duchess of Genoa: A Lozzolo (1871); Country (1874); On the way to Calais (1878); Country (1878); Collection Fogliato Turin: Alfa (1885); Latest study; pax; Tournon in the collection of Turin: Meyringen (1854); Marsh (1898); the collection Sandri Agoggio of Turin: The canai des Frames; Valet green. Avondo also etcher and draftsman (a group of drawings of various subjects are kept at the Gallery of Modern Art in Turin).