16th Century Oil on Canvas Italian Religious Painting Madonna Child Saints, 1580

Italian painting dated 1929. Oil on canvas framework depicting Madonna of excellent pictorial quality. First canvas painting, signed and dated lower right (see photo), signature in t...

Italian painting from the second half of the 17th century. The painting, oil on canvas, is an interesting ancient replica of a very famous composition by Guido Reni depicting Saint J...

Antique Italian painting from the late 17th century. Oil on canvas artwork depicting a religious subject, Saint Jerome, of good pictorial quality. A painting of good size and great i...

Ancient Italian painting from the first half of the 18th century. Oil on canvas framework depicting a religious subject Saint Francis of good pictorial quality. Wooden frame not coev...

Architectural oil painting on canvas of Heydon Hall executed in a rustic naive style with contrived aging and presented in a maple frame. Signed Dan Dunton.

Giovanni Crivelli known as Crivellino (Milan,? - Parma, 1760) Fight between dogs and bison Oil on canvas, 84 x 111 cm With frame 112 x 139 cm Thanks to the comparison with h...

Beautiful oil painting on wooden catwood panel. The painting has an almost Leonardesque background, characterized by a temple and distant mountains that recall the Holy Land. In the ...

17th century, Tuscan school Madonna and Child Oil on canvas, 31 x 21 cm With frame, cm 37,5 x 27,5 The pearly incarnations and the thoughtful play of looks between the Virgin, turned to the Son, and Questi, warmly open to the viewer, pour out the present painting with compositional perfection. Virginal fabrics become mottled at the folds, wrapping the Madonna in a thin vitreous mantle. The pastel colors, shining on the pink robe just tightened at the waist by a gold cord, enliven the faces of the divine couple in correspondence of the cheeks, lit by an orange warmth. Even the left hand of the Virgin, composed in perfect classical pose (Botticelli, Madonna with Child, 1467, Musée du Petit Palais, Avignon), is sprinkled with warmth thanks to the immediate touch with Christ. From the nimbus of the Mother a delicate luminous disk is effused, which takes back, in the most distant rays, the colour of the hair of the Son, from the tones of the sun. The Child Jesus is represented intent in a tender gesture of invitation with the right hand, while with the other he offers a universal blessing: with his hand he retracts the index and annular palms, extending the remaining three fingers, symbol of Father, Son and Holy Spirit. The painting welcomes and re-elaborates that typically Tuscan formalism that boasted in the rest of Italy the constant appreciation by the most up-to-date artists and collectors. Arrangement, composition and mixing of colors place the canvas in the middle between the changing mannerist and the sculptural figures of Michelangelo, essential yardstick of comparison in terms of anatomical and expressionistic rendering. In the present, silvery and pinkish powders act as three-dimensional inducers to the Child’s mentioned musculature and to the vivid folds of the clothes, expertly deposited on the lunar whiteness of the skins. While these colours recall the equally brilliantly transparent colours of Pier Francesco Foschi...