Francesco Hayez's The Last Kiss

Among Italy’s most famous art works of the nineteenth century, is Francesco Hayez’s The Kiss from 1859. Often lauded for its simplicity, emotional content, and uniqueness, Hayez had actually visited this subject many times earlier in his career, and the 1859 version happens to be the most popular. However, I would argue that an earlier version from 1833 best represents his capacity as an artist and his ability to visualize socio-political tensions in the region. Hayez subtly represents the transitioning Italian identity while maintaining a highly developed Romantic style; a feat certainly deserving of a place in the Romantic canon.
Hayez’s first version is more specifically called The Last Kiss of Romeo and Juliet and was completed in 1823.

They are locked in a longing gaze, attempting to stop time in anticipation of their separation. The figures are also placed further into the composition and moved from the center. A column from the pointed arch, the corner of the room, the window frame, and the ledge of the partition converge at the figures to focus the viewer’s attention to where the height of action takes place. Aside from their position, these lines are also elongated in comparison to the first painting, helped too by an elongation of the canvas. These stretched lines, along with the open space around the figures, reflect the characters’ helplessness in denying that their time together is soon ending. This scene is meant to be the climactic moment; the last time the lovers would supposedly see each other for months. Of course the real climax is revealed later, but this is still the last time they see each other alive. The space in the room heightens the intensity of their closeness and makes it seem like the action is playing out in slow motion, just as the characters wish it were. Romeo professes, “I have more care to stay than will to go. Come death, and welcome. Juliet wills it so. How is’t, my soul? Let’s talk. It is not