PAINTINGS ONLINE | ANCIENT AND CONTEMPORARY ART GALLERY

Composition with Bread and Tomatoes

Oil on canvas. Signed lower right. The artist's stamp is on the back of the frame. De Bernardi's painting is part of the Lombard landscape tradition of the 19th and 20th century. He always lived in Besozzo, his hometown in the province of Varese, but he traveled a lot, in Italy and outside of Italy, collecting impressions and researching, to relive them in his work, new landscapes. He preferred landscape production, even if declined with a changing style in his different pictorial phases. His production does not lack some still lifes, dating back mainly to the 1940s, compositions scrupulously drawn and aimed at dealing with the problems of light and atmospheric depth with agility and freshness, as in this presentation of some bread and tomatoes on a rustic table. Restored and relined, the painting is presented in a frame.

Suspension Study 1992

Mixed media on paper. Title but readable at the bottom; on the back the artist's stamp with signature, date and title (Pour poissons - Studio sospeso). Caccioni, an artist who was born, trained and still lives in Bologna, is one of the protagonists of a generation that has now reached a definitive linguistic maturity and occupies a prominent space within the contemporary artistic panorama. His research mainly uses unusual materials such as acetates, PVC and, more recently, stage backdrops of nineteenth-century theatrical works, on which he intervenes by painting shapes drawn from a personal memory and from suggestions coming from different cultures and historical periods. A recurring element in Luca Caccioni's work is writing, a self-signifying sign that designs the work and is capable of recounting thoughts; working by superimposition, the images are constructed by adding or subtracting color on the various supports. Work in frame.

Vis à Vis 1963

Mixed media (marker, watercolor) on paper. signed and dated lower right. Jean Cocteau was a multifaceted artist: writer, playwright, playwright, he also dabbled in visual arts, loving to experiment with all the avant-gardes of his century. Cocteau published his first book of drawings in 1923, at just 36 years old. In it the poet portrayed his friends Raymond Radiguet, Pablo Picasso, Erik Satie, Francis Poulenc, but also numerous scenes of daily life in Paris, Nijinski's Russian ballets, allegories, caricatures, poetic images. Cocteau revealed himself to be a talented sketcher, but above all an artist capable of capturing the essence of faces, behaviors, human weaknesses. The theme of the face, or rather of faces, often two profiles facing each other, vis à vis, recurs in his pictorial production. In 1962 the artist completed the construction of the open-air theatre in Cap d'Ail, on the French Mediterranean coast, whose flooring is decorated with this subject, two faces with a Greek profile facing each other, with an eye in between; the subject was then re-proposed by him in the following period - moreover the one imminent to his sudden death -, with different variations. In the drawing presented here we find the two Greek profiles, separated by the third eye but also by two twisted snakes, while in the drawing of the theatre we find leaves. The work is presented in a frame.

Oil on canvas. Northern European school, early 1900s. Unidentified signature on the lower right. The landscape represents a glimpse of uncultivated countryside, with patches of vegetation, meadows full of heather, crossed by a path that leads towards the nearby hills, passing next to a stable. The work has a small cut at the top center. It is presented in a frame.

The Joys of Mother

Oil on canvas. Early 1900s. The painting reproduces in rather detail the work of the same name painted in 1866 ca. by the Emilian painter Gaetano Chierici, an artist who became famous for a large production of scenes of peasant life, captured in rustic interiors, interpreted through an intimate sentimental adhesion and a clear formal realism, which tell of a small happy and always serene world, often joyful despite poverty, because it is devoid of any intent of social denunciation, but rather representative of the happy conception of family that the artist had. These paintings of his were so successful with the bourgeoisie of the time that they were replicated several times by the artist's own workshop and subsequently also by other painters. Chierici almost always set the scene inside a humble peasant kitchen, full of objects described in minute detail, populated by children intent on their daily activities, by adults who watch them happy and amused: in this scene set in a poor room, a woman sitting spinning, looks smiling tenderly amused at her two little children, the eldest who, standing, steals the pacifier from the little one lying on the floor on a bed of blankets, who stretches out his little hands towards his object of pleasure. The work, in the first canvas, is presented in a carved and gilded wooden frame from the late 19th century.

The Mask

Oil on canvas. The painting reproduces in rather detail the work of the same name painted in 1869 by the Emilian painter Gaetano Chierici, an artist who became famous for a large production of scenes of peasant life, captured in rustic interiors, interpreted through an intimate sentimental adhesion and a clear formal realism, which tell of a small happy and always serene world, indeed often joyful despite poverty, because devoid of any intent of social denunciation, but rather representative of the happy conception of family that the artist had. These paintings of his had such success with the bourgeoisie of the time, that they were replicated several times by the artist's own workshop and subsequently also by other painters. Chierici almost always set the scene inside a humble peasant kitchen, full of objects described in minute detail, populated by children intent on their daily activities, by adults who watch them happily and amused: here we see the child who suddenly enters the kitchen, wearing a grotesque mask on his face and thus frightening his little sister, who abandons her food to run and cling to the skirts of her mother, intent on the hearth, who scolds her son brandishing the ladle. The work is presented in a carved and gilded wooden frame from the late 19th century.

Oil on canvas, applied on panel. Central Italian school of the 18th century. It depicts the evangelical episode in which Jesus welcomes the children to himself, urging his disciples not to push them away: "Let the children come to me, for theirs is the Kingdom of Heaven". The scene is full of figures that overlap and intertwine: in the foreground Jesus seated on the right, opens his arms in a sign of welcoming the children who approach him, urged by their mothers; in the background the disciples, with Peter recognizable in the center who tries to push a boy away, but their gaze is turned to Christ, who looks at them and urges them to welcome them. In the background of the scene some architecture appears, in particular the pyramid stands out which symbolically represents the tension, the ascent towards the top. The painting has an evident lack of canvas in the center, patched with the application of a wooden panel to the back. It has other small traces of widespread restoration. It is presented in a 19th century frame.

Female Portrait 1937

Oil on canvas. Trace of signature lower left, full signature on the back, with the date. Trained at the Tallone school, Moretti Foggia was mainly a landscape painter, who offers veristic views characterized by a very bright and material chromatic palette, mainly reproducing his native Val d'Ossola. But his production also includes several portraits, among which is the successful one of this elegant and smiling lady, portraits in which the influence of Cesare Tallone is evident, in the brush stroke and in the use of color, as well as in the attention to the female world. The painting is presented in a contemporary frame.

Highland Cattle Loch Venachar

Oil on canvas. Signed lower left. Further signature and title on the back. A herd of Highland cows, a typical Scottish breed, is depicted on the shores of the Scottish lake Venachar. Henry Robinson Hall was an English artist who specialized in Victorian landscapes, and in particular glimpses of the Scottish countryside animated by herds of typical animals. The painting is presented in a gilded frame from the first half of the 20th century.

Courtship at the Well 1873

Oil on canvas. Signed and dated lower right. Haier was a Viennese painter and photographer, but lived for a long time in the Czech Republic. His pictorial production includes portraits and many genre scenes, set like this one in the Czech rural environment. We have a seller of jars, transported on the back of his donkey, who entertains himself at a well in amorous conversation with a girl, who in the meantime offers a tuft of grass to the docile beast. The painting is presented in a period frame.

Oil on canvas. The painting looks at the similar work by Paolo Veronese (1528-1588), datable around 1560-70 and now preserved in the Prado Museum, of which our painting takes the composition of the figures, changing the entire background and the clothing of the characters. Veronese's work was so successful that it was replicated by his own workshop, with numerous variations: our work probably derives from one of these copies, replicated at a later time. The episode depicted is narrated in the biblical book of Exodus and tells of the finding of the little Moses, left by his mother in a basket along the banks of the Nile River, to save him from the massacre of the children of Israel perpetrated by the Pharaoh; the Pharaoh's daughter, who went to the river with her entourage, finds him and saves him, adopting him. The figures in the scene are depicted in eighteenth-century clothing, in particular the princess' dress stands out for its richness and sumptuousness; the only exotic element is the presence of a colored servant in the retinue, while the background also refers to a landscape of northern Europe, with thick woodland vegetation. The painting, restored and relined, is presented in an 11th century frame.

Oil on canvas. Dutch school of the late 18th-early 19th century. On the back of the frame, an early 20th-century inscription reads "The Surgeon, based on a subject by Bega", referring to the Dutch painter Cornelis Bega (1620 - 1664) who stood out for his genre scenes, usually interiors and in a popular style. The interior of a house is shown here, where a woman is treating a man's leg wound, assisted by her little daughter and the curious old woman. The work is presented in an early 20th-century frame.

The Country Road 1905

Oil on canvas. signed and dated lower right. The Hungarian painter Antal Berkes painted landscapes in the early years of his career, but later devoted himself to glimpses and views of cities, Budapest, Paris, Vienna. This painting still belongs to the first production, proposing the view of a country road, which passes through a forest where some farmhouses are located; on the dirt road there is a cart pulled by horses. The painting is presented in a period frame.

Landscape with Figures

Mixed media on cardboard. Signed lower left. Stamp of the artist's studio on the back. The painter of Apulian origins Giuseppe Casciaro, painter and teacher at the Institute of Fine Arts in Naples where he trained, was essentially a landscape painter and produced in particular views of the surroundings of Naples, Irpinia (Nusco) and Puglia. He preferred the pastel painting technique in which he excelled. Here is a glimpse of a Mediterranean countryside, crossed by a path with wayfarers. It is presented in a period frame.

Glimpse of the Village 1923

Oil on panel. Signed lower left. On the back is a further signature and the date (November 1923). De Bernardi's painting fits into the tradition of Lombard landscape painting of the 19th and 20th centuries. He always lived in Besozzo, his hometown in the province of Varese, but he travelled a lot, in Italy and outside of Italy, collecting impressions and researching, to relive them in his work, new landscapes. He preferred landscape production, even if declined with a changing style in his different pictorial phases. Here is a glimpse of a small village, De Bernardi's painting fits into the tradition of Lombard landscape painting of the 19th and 20th centuries. The picturesque. He always lived in Besozzo, his hometown in the province of Varese, but he travelled a lot, in Italy and outside of Italy, collecting impressions and researching, to relive them in his work, new landscapes. He preferred landscape production, even if declined with a changing style in his different pictorial phases. Here is proposed the glimpse of a mountain village. The work is presented in a frame in style.

Tarasp Castle 1960

Oil on cardboard. Signed and dated lower right. The Roman artist Cesare Maggi established himself as a landscape painter of the divisionist style, portraying Alpine landscapes of the Engadine and Aosta Valley, often enlivened by the inclusion of figures and animals. Having become friends with the painter Giacomo Grosso in Turin in 1901, he then successfully turned to the portrait genre, setting aside the divisionist technique. Although he still preferred high mountain views, he expanded his subjects by also working on marine and still life paintings. Shown here is the snow-covered glimpse of Tarasp Castle, an 11th-century fortress in Lower Engadine, Switzerland. This is a late work by the artist, who remained attached to his favorite subject, the Alpine landscape, until the end, despite having now abandoned the divisionist technique of his early period. The work is presented in a period frame.

The Angel of Death 1979

Oil on hardboard. Signed and dated lower left. Further signature, date and title on the back. Angelo Peratici's artistic production is characterized by a desire for expressive freedom that draws on his fervent imagination to represent reality. Starting from this innate impulse to transfigure reality, his art has transformed into a laborious research process, fertile with metaphorical and visionary images, sometimes grotesque, eccentric, which we see realized in particular in the production of the early 80s.

Floral Arrangement of Red Roses

Oil on canvas. Signed lower right. Alfio Paolo Graziani chose the faithful transposition of reality on his canvases, creating almost hyper-realistic compositions for the precision in reproducing the various materials and surfaces, as well as the effects of the light incident on them. Nicknamed "Prince of Flowers" for the abundant production of floral compositions, he also created landscapes, portraits and still lifes. Presented here is a bright bouquet of red roses, arranged in a decorated ceramic vase. The work is presented in a period frame.

Floral Composition

Oil on canvas. Signed lower left. Alfio Paolo Graziani chose the faithful transposition of reality on his canvases, creating almost hyper-realistic compositions for the precision in reproducing the various materials and surfaces, as well as the effects of the light incident on them. Nicknamed "Prince of Flowers" for the abundant production of floral compositions, he also created landscapes, portraits and still lifes. Presented here is a bright bunch of small roses arranged in a decorated ceramic vase. The work is presented in a period frame.

Oil on canvas. The large scene, set in a hilly countryside, with a village and ruins in the background on the left, is completely occupied by the compact group of numerous living figures: the shepherd's family is seated in the center, watching his companion who is holding the swaddled baby in her arms; all around, the animals, from the faithful sheepdog to the animals of the flock, sheep, goats and cows, also resting. The great naturalism of the animal figures stands out, which harks back in pictorial style to the works of the school of Philipp Peter Roos, known as Rosa da Tivoli (1657-1706), the German painter considered one of the best animal painters active in Italy in the 17th century, characterized by the peculiar ability to evoke the fleece and the looks of the animals. The work, restored and relined, is presented in a gilded frame in style.