Large Still Life With Vase And Flowers Oil On Canvas 18th Century
Artwork title: Grande natura morta con vaso e fiori
Age: XVIII Century - from 1701 to 1800
Subject: Floral Composition
Artistic technique: Pittura
Technical specification: Oil on canvas
Description : Grande natura morta con vaso e fiori
Oil on canvas. The large composition, intended as a decoration with a trompe l'oeil effect, shows a vase overflowing with a cascade of colourful flowers, that stands on a ledge, behind which you can see some architectural elements in the background, some capitals of half columns. The painting underwent some reparative restorations for some paint losses. It is presented in a frame in style.
Fair condition. Wear consistent with age and use. Product with a Certificate of Authenticity and Lawful Origin.
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Age: XVIII Century - from 1701 to 1800In the century of the Enlightenment, or the exaltation of reason and science as the only tools that can free man from ignorance and the yoke of the Church and the nobility, art passes from the intent of the Baroque to tell religious truths or to imitate nature, with strong chiaroscuro contrasts and artificial excesses, to the lighter and more vaporous forms (sometimes even frivolous and affected) of the so-called Barocchetto or Rococò, to lead to Neoclassicism which, looking at the ancient art of the Greeks and Romans, wants to re-propose the discovery of beauty, in the search for harmony, proportions, balances.
Find out more about the 18th century with our insights:
Discovering the Barocchetto
FineArt: Giovanni Domenico Lombardi, Conversion of a centurion, 18th century
Subject: Floral Composition
Artistic technique: PitturaLa 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.
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The product can be seen at Milan
Oil painting on canvas. Northern European school of the eighteenth century. A plate on the frame attributes the work to Meindert Hobbema (1638 -1709) one of the greatest Dutch landscape painters. While not confirming the attribution, we appreciate the good pictorial quality of the tree-lined landscape, enlivened by figurines and with a charming cottage that stands out in the centre, where the play of light and shadow created by the sun between the branches of the trees stands out. Restored and relined, the painting is presented in a mid-1900s frame.
Oil painting on canvas. Bolognese school of the XVII -XVIII century. Mary and the Child Jesus, who is in the arms of his standing mother, with his arms already extended to recall the Cross, are placed against a naturalistic background, which fades into a rosy sky in the distance, while on the right stands the shaft of a column. The faces of the two figures show a strong resemblance in the somatic features, in particular the eyes stand out, highly expressive in their seriousness. The pictorial methods look to the painting of Elisabetta Sirani (1638 -1665), who influenced Bolognese painting by introducing expressive and emotional modalities very early in the gazes of her characters. The work, restored and relined, is presented in an antique frame.
Paper engravings. Five are from drawings by Giuseppe Zocchi (1711-1767) and the other five are from drawings by Jacopo Amigoni (1682-1752). They all depict episodes from the Old Testament, with different characters and episodes. Of Zocchi there are scenes from the life of Tobias, of Jephthah, of Moses (the burning bush), of Hagar and of Lot. Of Amigoni, scenes from the life of Jacob, of David with Abigail, of Abraham and two others of Moses (Moses saved from the waters and Moses defending the daughters of Jerus at the well). The German Joseph Wagner trained as a painter in Venice, in the workshop of the Rococo painter Jacopo Amigoni, who invited him to devote himself to copper burin engraving. In 1739 he founded the Wagnerian chalcography in Venice, which quickly became the most important print production center of the Serenissima; his workshop was very popular with many Venetian etchers (Volpato, Brustolon, Piranesi to name a few). In the prolific workshop, the most talented engravers active at the time were employed in the creation of hundreds of prints reproducing all kinds of the variegated eighteenth-century lagoon figurative culture, creating works of a high quality level, in which they immediately played a leading role the prints taken from prototypes of Amigoni, The revived scenes are of Rococo taste, set in landscapes dominated by a gentle nature and embellished by the presence of ancient ruins, and inserted in graceful rocaille frames. The engravings show slight gore of humidity. They are presented in contemporary gilded frames, with period glasses.
Oil on canvas. In the large landscape, green and shady wooded hills stand out in the foreground, in which some and figures of shepherds live their daily lives: some look after a large pile of straw which they are setting on fire, others rest, others still lead the flocks on the path . In the background the blue-grey sky contrasts with the dominant color of the red earth. Restored and relined, the painting is presented in a mid-1900s frame.
Les Gueux, 1622 (complete series)
Les Gueux, 1622 (complete series)
Etchings. This is the complete series of 25 engravings on paper of the "Beggars" (Les Gueux), made by the French engraver in Nancy, and widely reproduced for the popularity it obtained; Rembrandt, who owned a collection of Callot's prints, was inspired by them for his beggar figures. Beggars or commoners of Italian origin are depicted (Callot drew them in Italy) who symbolize the poverty and the wounds of the human condition. The engravings have not been signed by the author, but have been numbered; only the first engraving, which portrays a very humble character carrying a flag with the words "Captain De Baroni", and which also represents the title page of the collection, shows the name of the painter and engraver. The whole series is presented in frames in style.
Oil on canvas. Nazario and Celso were two Christian martyrs, who died in Milan in 304 a.C., veneered both by the Catholic and the Orthodox Church, who travelled through Italy as evangelisers, and were persecuted by Romans. According to the tradition, the two young men were condemned to die and put on a ship that was supposed to take them offshore, where they would have been thrown overboard. The legend narrates that, once they had been thrown overboard, they started walking on water. There was a storm which terrorised the sailors, who asked Nazario for help. The waters got calm immediately. In the end, the ship landed in Genua, where Nazario and Celso continued their evangelising work, in all the Liguria region and pushing even to Milan, where they were arrested again and sentenced to death a second time. The painting is in its first canvas and has never been restored, it needs some cleaning up but it is in good condition (micro paint losses). It is presented in a coeval frame, with defects.
Oil on canvas. Lombard school of the eighteenth century. An almost garland-like composition of variegated flowers, which occupy the entire pictorial field, against a dark background from which they emerge by themselves, without any other furnishing element. Restored and relined, the painting is presented in a frame in the early 1900s style.
Oil on canvas. Central European School. The scene is set in the shop of a barber, who is intent on cutting a man's hair under the watchful eye of other customers and, above all, of some women with children, one of whom even observes the result of his work with glasses. Glasses were introduced in art first as a sign of distinction, and later also as a sign of scientific attention, progressively delineating the figure of the scholar, doctor and surgeon: in this painting, they actually underline the irony of the scene, and they are used as a tool for a close female examination of the spouse's haircut! The whole scene is filled with figures, painted in a crude and almost grotesque way, with very marked, almost theatrical expressions and poses, underlined as well by the bright colours. Due to these characteristics, the painting fits well into that production of genre scenes based on popular life captured in its most lively and characteristic moments, which originated in the seventeenth century in Central Europe, especially in the Netherlands, to replace naturalistic and religious painting with lighter subjects, and which in Italy found a particular expression in the "Bamboccianti School", developed in Rome by Flemish and Italian painters. The painting has been restored and relined. It is presented in an antique frame.
Oil on canvas. North Italian School. Inserted in a late Renaissance landscape, the composition of the figures is arranged according to an ascending diagonal towards the left and more precisely culminating with the three crosses on Calvary in the distance; the body of Christ is in the middle, lying, albeit also obliquely, behind him there are three figures: St. John, Mary in the centre, and a pious woman, the only one depicted in seventeenth-century clothes- probably a portrait of a person close to the client. The piece can be placed in the Lombard-Venetian cultural production of the first half of the 16th century, more precisely in the pictorial activity that flourished between Brescia, Garda and Verona, which found its maximum expression in the mannerist ways of Giovanni Demio (1500-1570 ca). In particular, some elements are found in the piece, especially in the shapes of clothing and poses (for example of Saint John), which refer to models of Raphaelesque mold that were widely used, thanks to the mediation of engravers such as Marcantonio Raimondi (1480 -1534 ca ), who contributed to the distribution of the pieces of the masters. The painting, restored and relined, has extensive renovations. It is presented in an antique frame, that can be dated around the 17th century, repainted.
Oil on canvas. Central European school. The scene, set inside a tavern, depicts a fight between two men, who are held by the other patrons and by the innkeeper; on the table, next to the interrupted lunch, the cards of the game that sparked the quarrel. The whole scene is filled with figures, painted in a raw and almost grotesque way, with very pronounced, almost theatrical expressions and poses, underlined even more by the bright colours. Due to these characteristics, the painting fits well into that production of genre scenes based on popular life captured in its most lively and characteristic moments, which started in the seventeenth century in Central Europe, especially in the Netherlands, to replace naturalistic and religious painting with lighter subjects, and which in Italy found a particular expression in the "Bamboccianti School", developed in Rome by Flemish and Italian painters. The painting has been restored and relined. It is presented in a period frame.
Oil on canvas. Northern Italy school. In the scene, four young girls dance, accompanied by different instruments: Venus, who is characterized by the crown on her head, beats on a triangle, the three Graces have a tambourine and castanets. In the lower centre, a boy accompanies them with the flute, while on the left, seated on a rock and leaning on his sword, the god Mars observes them. Restored and relined, the painting is presented in an antique gilded frame.
Oil on canvas. Northern Italian school of the 17th-18th century. In a large, rather barren hilly landscape, which widens and fades to the right, there is a high rock, shaped like an arch, under which there is Saint Jerome penitent, depicted in the act of prayer and adoration of the Cross. In accordance with the canons of 17th-18th century painting, the figure of the Saint, adapted to the iconography in his clothes and attitude, is however inserted in an unsuitable landscape, close to that of the painter who drew on the landscape reality known to him. . The painting, restored and relined, is presented in a period frame.
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.
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