Penitent Magdalene Oil on Canvas Flemish School 17th Century
Work title: Maddalena penitente
Artistic school: Flemish School
Time: 17th Century / 1601 - 1700
Subject: Sacred Subject
Artistic technique: Painting
Technical specification: Oil on Canvas
Description : Maddalena penitente
Oil on canvas. Flemish School. Magdalene is represented with her iconographical symbols: in the desert, half-dressed and with her hair down, with the book of Holy Scriptures and in an attitude of ecstasy; next to her there is a skull, symbol of " momento mori", that recalls to the transience of life. Restored and displayed in a frame made with readjusted old woods.
Fair condition. Wear consistent with age and use.
frame Size (cm):
work dimensions (cm):
Artistic school: Flemish School
Time: 17th Century / 1601 - 1700In the seventeenth century, art was strongly conditioned by the religious problem: the Church was still one of the greatest patrons of works of art and used them to fascinate and impress the faithful, exalting salvation, reachable only with fidelity to the Church. 17th century art is therefore an educational tool, produced to be enjoyed and understood by many. Thus, the scenes that face the representation of an imaginary reality are accompanied by the analysis of the details and the great clarity of the environment, in order to propose every fiction as real and with the intention of emotionally involving the observer, making him live. in a subjective way an infinite and grandiose reality, also reflects the artist's desire to express himself freely: in fact he does not bend to pre-established schemes, he does not use rigid, contained forms, organized in rigorous compositional symmetries, but free, open and articulated forms . The art of the 1600s is therefore a representation, the purpose of which is to impress, move, persuade; it is the product of the imagination and its purpose is to persuade that something not real can become real. This complex artistic phenomenon is traditionally defined as Baroque, and its birth takes place in Rome between the third and fourth decade of the seventeenth century, where it is eminently represented by the work of Gian Lorenzo Bernini, Francesco Borromini and Pietro da Cortona. , even if the fundamental junction is constituted by the work of Caravaggio. The movement then spread throughout Italy and Europe (we remember in particular Rembrandt, Rubens, Velazquez), in the world of arts, literature, music, and in numerous other areas, until the mid-18th century.
Find out more about the 17th century with our insights:
Between Baroque and Baroque
Erminia meets the shepherds, Camillo Gavassetti / XVII Century
Subject: Sacred Subject
Artistic technique: PaintingLa pittura è l'arte che consiste nell'applicare dei pigmenti a un supporto come la carta, la tela, la seta, la ceramica, il legno, il vetro o un muro. Essendo i pigmenti essenzialmente solidi, è necessario utilizzare un legante, che li porti a uno stadio liquido, più fluido o più denso, e un collante, che permetta l'adesione duratura al supporto. Chi dipinge è detto pittore o pittrice. Il risultato è un'immagine che, a seconda delle intenzioni dell'autore, esprime la sua percezione del mondo o una libera associazione di forme o un qualsiasi altro significato, a seconda della sua creatività, del suo gusto estetico e di quello della società di cui fa parte.
Technical specification: Oil on CanvasThe oil painting is a painting technique using powder pigments mixed with bases in inert and oils.
Other customers have searched:
Pittura antica, artisti italiani, pittura olio su tela, arte 800, pittura antica, arte novecento, oggetti d'arte, ritratto di signora, dipinto animali, quadro paesaggio montano, dipinto olio su tela, dipinto antico, dipinti natura morta, quadro antico, quadro del '600, pittori italiani quadri olio su tela paesaggi, paesaggio marino dipinto, paesaggio invernale dipinto, paesaggio autunnale dipinto, dipinto di paesaggio, arte antica, quadro religioso..
Se sei un appassionato d'arte, non perderti i nostri approfondimenti sul Blog Arte Di Mano in Mano e su FineArt by Di Mano in Mano - Arte:
Ecco alcuni tra i principali articoli:
Falsi nell'arte antica
Un messaggio di fiducia per ripartire
La potenza espressiva dell'arte figurativa etiope
Breve Storia del Collezionismo
Giorgio Upiglio, maestro dei libri d'artista
Matthias Withoos detto "Calzetta bianca"
San Rocco pensaci tu - Classic Monday
Dai un'occhiata alle nostre rubriche di divulgazione sull'arte:
Lavorazioni e tecniche
Mostre ed Eventi
Se sei appassionato di pittura antica, con tutta probabilità gusterai le schede di questi stupendi quadri:
"Dio parla a Noè dopo il diluvio", Jacopo da Ponte, detto il Bassano, seconda metà XVI secolo
Crocifissione, maestro della misericordia dell'accademia, terzo quarto del XIV secolo
Erminia incontra i pastori, Camillo Gavassetti, Seconda metà anni Venti del XVII Secolo
Eroine dell'antichità, Francesco Conti, XVIII secolo
Hieronymus III Francken, La Negazione di Pietro, XVII secolo
Jefte e la figlia, Girolamo Forabosco e aiuti, XVII secolo
L'Accademia di Platone, piccolo arazzo, fine XVII - inizio XVIII secolo
Maddalena e San Giovanni Battista
Natura Morta, Bartolomeo Arbotori, XVIII secolo
Sacra Famiglia con San Giovannino, Bartolomeo Ramenghi, scuola di, prima metà XVI secolo
Testa Femminile, Andrea del Sarto, ambito di, post 1522
Uva, fichi, melagrana e pesche su un capitello - Maximilian Pfeiler, primo quarto XVIII secolo
Sapevi che l'arte può essere anche un ottimo investimento (e non solo per grandi portafogli)?
L'Arte tra Collezionismo e Investimento
FineArt: Arte come investimento
The product is visible at Cambiago
Pronto per la consegna in 2 giorni lavorativi dalla conferma dell'ordine del prodotto.
Consegna tra i 7 e i 15 giorni in tutta Italia. Per le isole e le zone difficilmente raggiungibili i tempi di consegna possono variare.
Oil painting on canvas. Northern Italian school of the eighteenth century. The landscape, set on the banks of a wide river, sees in the center some figures of peasants intent on picking fruit from a tree: a girl holds the ladder while the boy cuts off a bunch, on the left another couple places the fruit collected in a tub. All around a vast green countryside and some farmhouses. Restored and relined, the painting is presented in a period frame.
Oil on canvas. Italian school of the 17th century. The putative father of Jesus, clearly identified by the flowery staff on top, holds the child in his arms, stretching it out as if to present and offer it to the world; a look of tenderness passes between the two. Restored and re-framed, the painting is presented in a stylish frame.
Oil painting on canvas. The Holy Family is depicted with Mary and Joseph who, converging one hundredth with their heads close together, frame the Child Jesus, intent on playing with a lamb, the iconographic symbol of the sacrificial victim, therefore a prelude to the Passion, together with the small Cross that the child holds in one hand. The inscription anno 1845 appears at the top right, an indication of the period probably added during the subsequent restoration phase. In fact, the work has been restored and relined. It is presented in a stylish frame.
Oil on canvas. From a private collection in which they were combined as a pendant, the two compositions are actually different in manufacturing and technique, as well as in the size of the canvases. The slightly larger canvas (71 x 91 cm), in oil, features two different wicker baskets filled with white and red grapes, surrounded by other fruit (pears and peaches) and with a curious squirrel sniffing the air; the dark background is empty. The second canvas (64 x 88 cm) is made with the lean oil technique, which makes it very close for pictorial effect to a tempera on canvas; the composition is made up of variegated flowers and fruit (watermelon, grapes, peaches), and is placed in an external environment, albeit not very defined (the clouds on the left). Both canvases need cleaning; the first shows traces of previous restoration and relining (patch on the back), while the second, in her very worn first canvas, has very widespread small holes and drops of color. Both works are presented in white lacquered frames, albeit different in shape.
Tempera on canvas. Chaekkori, which translated literally means "books and objects", is a type of painting of the Still Life genre belonging to the end of the Korean dynastic period called Choson (1392 -1910), in particular which developed from the second half of the 18th century to the first half of the '900, which was widely successful in all social states, to express the love for the culture of the Korean population. It is characterized by the depiction of various objects that define the man of letters, in particular books are always present, as in this one proposed here, in which a goose pen for writing is placed side by side, a set of porcelain bowls, a fan folded in its case. Relined and restored, the painting is presented in an early 1900s frame.
Oil painting on canvas. Northern Italian school of the XVII-XVIII century. In the scene the Virgin Mary, intent on praying on the left, receives from the Archangel Gabriel on the right the announcement that she will be the Mother of Jesus, through the work of the Holy Spirit present in the form of a dove that descends from above, immersed in the divine light. The setting refers to the period of execution of the work; near Mary the objects of prayer to indicate her spirituality, but also a spinning wheel, to indicate her human activity. Restored and relined, the painting is presented in a period frame.
Oil on canvas. The face of the Virgin reminds of the style of representation of Giovanni Battista Salvi, also known as Sassoferrato (1609-1685), whose style was often revived in 18th and 19th century. There is a cartouche on the back of the painting with the inventory number (N. 193) and the name of the collector Giuseppe Bertarelli (1804-1875), merchant and philanthropist from Milan, known for his important art donations to the Pinacoteca Ambrosiana. The painting is in its first canvas; needs restorations for small paint losses and two small holes. It is presented in a coeval frame.
Sant'Antonio Abate e San Paolo l'Eremita
Sant'Antonio Abate e San Paolo l'Eremita
Oil on canvas. It is a large Nordic landscape, dominated by rocky peaks on the left and a lake with a central island on the right; in the foreground some figures that tell the legend of San Paolo Eremita, on the left, and Sant'Antonio abate, on the right with a centaur. The Golden Legend of Jacopo da Varagine tells that Saint Anthony the Abbot visited Paul the hermit, who for forty years had lived in solitude fed by a crow who brought him bread every day. Sant'Antonio asked for news from a centaur, who also in this scene shows him the way to follow with his arm. The restored and relined work is presented in a period frame.
Oil on canvas. Italian School. Still life with fruit (watermelon, pears, peaches and pomegranates) and vegetables (pumpkin, califlowers) standing on a surface; on the right there is the ladder of a hemhouse with an hem inside. The painting needs to be cleaned and restore because of some drops of color. Revival frame.
Oil on canvas. Center-Italian School. The Saitn from Assisi is represented while contemplating the Crucifix as he was traditionally portraited, itinerant in the Umbrian countryside. The painting had already been restored but need to be clean. Displayed in an ancient frame.
Oil painting on canvas. Lombard school of the seventeenth century. First canvas and mounted on original frame. The painting, in particular octagonal shape, probably forming part of a series of sacred scenes, proposes the mystical contemplation of the Crucifix by two saints. The Cross, placed on a marble altar, is mounted on a richly worked bronze base, with the statue of St. Sebastian pierced by arrows in the center and two little angels on the sides, bearing the palm of martyrdom and other arrows. On the sides of the Cross, suspended on two clouds, because they are part of the mystical vision, the figures of Mary and John, as narrated by the Gospel. On the sides the two saints who contemplate: on the left Sant'Ambrogio, recognizable by the bishop's clothes but above all by the scourge on his feet, an unmistakable attribute, which he, according to tradition, waved threatening against the enemies of the faith, to defend from any attack that people who was entrusted to him. On the right is St. Francis Xavier, the young Jesuit who shared the foundation of the Society of Jesus with Ignatius of Loyola and was a missionary in the East, who is dressed in a priestly habit, a hat and a pilgrim; at his feet you can see a stick, presumably that of the pilgrim. The painting needs cleaning and restoration for some small cuts.
Oil painting on canvas. At the top right are the name of the man portrayed and his age, 78 years old. The man's habit and the attitude of prayer, in front of the Crucifix, with the meditation book in his hand, identify him as a prelate. The surname Albertoni is widely spread in Italy, in various families that started from Lombardy to extend to Parma and then to Rome. The painting, restored and relined, is presented in a period frame.
Scultura/centrotavola in metallo.
An elegant porcelein centerpiece manufactured by Nanni Valentini in the late 1960s, with dark green decorations. Under the basement the manufacturer's trademark and a paper label are present. 'Arcore Ceramica' was founded in 1967 by Marco and Tina Terenzi, wife of the sculptor and ceramist Nanni Valentini. The object is coming from an important private collection in Milan.
Suitcase turntable, vinyl upholstery.
Metal "Amstel Beer" card holder.
Centerpiece in chromed metal.
Pocket emptier in plastic material.
Pair of Marine Shells
Uncle Scrooge in plasticized rubber. 70's.
Production in ITALY, GLASS With FABRIC CHALK