17th Century Oil on Canvas Italian Antique Landscape Painting, 1680

Antique Italian painting from the 17th century. Artwork oil on canvas depicting a particular religious subject, the Parable of the unfaithful farmer. Once upon a time there was a farmer who fraudulently administered his master's assets. Before being fired, he tries to recover part of the credits by making important discounts to creditors, who will be grateful to him. The master, instead of condemning this behavior which is detrimental to him, praises the cunning of the farmer. This story is meant to urge believers to do whatever is necessary before the imminent arrival of the Kingdom of God and its judgment. Painting that develops vertically adorned with a wooden frame not coeval carved, lacquered and gilded. Painting that focuses on the characters in the foreground, a patina that does not allow a perfect view of the architecture and of the foreshortening on the left (see photo), painted to be cleaned...

Splendid 17th century Italian painting. Oil painting on canvas depicting the alliance of Jacob and Laban. The subject is inspired by a canvas by Pietro da Cortona (1596-1669), preser...

Flemish school of the mid-17th century. Oil on canvas artwork depicting a splendid hunting scene. On the right is a group of characters dressed in the 17th-century fashion of Norther...

Antique Italian painting from the 17th century. Artwork oil on canvas depicting a religious subject, Delivery of the rosary to Saint Dominic of Guzmán, of good pictorial quality. Pai...

Magnificent Italian 17th century Portrait of Virgin Mary measures 52 x 68 cm without the frame. The colors are stunning and the paintin...

Italian old master painting, 17th century, oil on canvas. Good condition Measures: H. 54 W. 43 cm H. 21.2 W. 16.9 in.

Workshop of Jan Frans van Bloemen (Antwerp, 1622 - Rome, 1749) Lazio landscape Oil on canvas, 48.5 x 64.5 cm The painting, to be considered belonging to the vast production...

17th century, Emilian school Rural landscape with gallant scenes Oil on canvas, 37 x 47.5 cm With frame 61 x 50.5 cm The bucolic amenity of the present is reflected in the joyful gallant scenes that dot its surface. The locus amoenus described reflects on the more traditional inflection of Arcadia, which in the literary transfiguration was the scenario par excellence of the most carefree pastoral life and out of this world; the painting is therefore a forerunner of what was professed by the actual poetic academy of Arcadia which was established in Rome in 1690, but enthusiastically testifies to the feverish invitations to its acceptance, then widespread in the most avant-garde cultural salons throughout Italy. First Theocritus and Virgil later had awakened with Idilli and Bucoliche that capacity typical of the natural world to allow an escape from reality; the contemplation of perfect natural fruits that followed would have evoked in the spirits of dreaming men back to origins. The bucolic landscape was able to positively give a rhythm to material life, and constituted the concretization of a place devoid of incivility and ugliness, where only dreams, wild music and homages to fruitful nature were allowed. In the present painting widespread figures of shepherd children trace the same intent to the sublimation of earthly life, gathered in pairs, while children on the model of the ancient cherubs cheer the field with flowers and petals. The games of these and the sweet affections of the other characters are rendered through liquid and vibrant brushstrokes, flickering with a white light that opposes the dark shadow of the undergrowth. In the distance, the sky tapers with a silvery and flat brushstroke, while the vertical development of the promoters with architectures helps to introject a bright beam of light into the grassy clearing. The foliage and the turf of the landscape piece are rendered through a digital brushstroke, betraying the Italian brand of the present, influenced at the same time by the seventeenth-century European influences that then conveyed to the capital. The evocative culture of the city attracted many artists from the city of Bologna, from the Italian north but also from the territories beyond the Alps, such as Claude Lorrain and Nicolas Poussin. The historical-artistic heritage of the Italian pastoral scenes was thus able to fill up with the more functional and particular formalisms of the charms coming from elsewhere, such as the expressive tremor of the present, similar to the contemporary French lexicon. The typological restitution from pastoral idyll, in accordance with the intrinsic stylistic qualities of the work, allows us to specify the solid belonging of the present to the Italian hand, similarly to what was then emerging in the pictorial sphere within the Emilian school. In this regard, we should recall the latent influences of two decisive foreign landscape painters who passed through the Emilian belt, such as Claude Lorrain (1600-1682) and Nicolas Poussin (1594-1665); before them, Giovanni Battista Viola...