[3] After the death of Brandeis' father, her mother, Giuseppina Dravhozvall, married the Venetian Giovanni Nobile Scaramella; shortly afterward the family apparently moved to Venice.

[4] Brandeis’s professors at the Venetian Academy of Fine Arts include Michelangelo Grigoletti and Napoleone Nani for life drawing, Domenico Bresolin for landscape, Pompeo Marino Molmenti for painting and Federico Moja for perspective.

It is in Venice at the academy that Brandeis perfected her skills as a meticulous landscape and cityscape painter, with intricate and luminous details in the tradition of the eighteenth-century “vedutisti”.

In the exhibit of 1875 her landscape Palazzo, Marin Falier is sold to M. Hall of London for 320 lire, a first indication of the success Brandeis will achieve with foreign collectors of her work (particularly the English and German visitors to Italy on the Grand Tour circuit).

In November 1877 Brandeis showed the large painting Palazzo Cavalli a Venezia at the exhibition of the Hungarian Fine Arts Society in Budapest.

The biographer De Gubernatis offers the following explanation for the change of name: “her first pictures received praise and criticism; she took the criticism, but when she was praised as a woman she was annoyed, and therefore exhibited under the name Antonio Brandeis.”[3] During the years 1878 to 1893 Brandeis painted and exhibited numerous works, primarily scenes of Venice, and although she resided chiefly in that city she also traveled and painted in Verona, Bologna, Florence, and Rome.

[4] During this period of intense activity painting landscapes en plein air and genre scenes, Brandeis also is documented in De Gubernatis as a painter of religious altarpieces.

As well as at the Innocenti Institute and the Gallery of Modern Art at the Pitti Palace in Florence, Antonietta Brandeis’ works are in private collections in many parts of the world.