the silver medal at the Parma's National Exposition. In that same year, Virginia Batelli, his companion, died of tuberculosis. Three of Lega's brothers also died at about this time. The grieving Lega returned to Modigliana. Depressed, and experiencing the onset of eye problems, he ceased painting almost entirely for four years between 1874 and 1878. In 1875, he and Borrani established a modern art gallery in Florence, but it quickly failed, and Lega's financial problems worsened. In 1878 he took part in the preparations for the Paris Universal Exposition. At the Florentine Promotrice in 1879, Lega—who never traveled outside Italy—saw two Impressionist paintings by Camille Pissarro, which he admired. He became a frequent guest of the Tommasi family, and a tutor of the sons of the family. The art historian Norma Broude says that "like the Batellis before them, [the Tommasis] welcomed Lega into their family circle and provided for him the warm and close-knit family environment in which he and his art could flourish." In 1886, he painted one of his most famous works, the Gabbarigiane. By the mid-1880s, Lega was almost blind, and perceived only large masses. He produced many paintings in Gabbro, where he was a guest of the Bandini family. He participated at the Exposition Universelle (1889) and at the Promotrice of Florence. Lega died in Florence in 1895 of stomach cancer. Style Lega's artistic career may be divided into two periods: the first is the calm phase, where he looked at the world optimistically. The second is the disturbed phase, associated with his poor economic conditions and with his depression after Virginia's death. Efrem Gisella Calingaert says:the originality of Lega’s style lies in the way he adapted a contemporary use of colour, based on direct experience of the motif, to a traditional type of composition and carefully defined forms. This is illustrated by the Singing of the Ballad (1867; Florence, Pitti), which, together with A Visit (1868; Rome, G.N.A. Mod.) and The Pergola, constitute the most important works of Lega’s mature period and perhaps of his whole career. In the Singing of the Ballad the simplicity and balance of the composition, the transparency of the colours and rendering of atmosphere, the monumentality of the figures in profile and their pyramidal forms invest the scene with the solemnity of a painting by Piero della Francesca. Partial list of works Il sacro cuore di Gesù, oil painting