Mirror Glass Italy 1950s

Oil on canvas applied to plywood. Signed lower left. Ezio Pastorio, originally from Cremona but transplanted to Valseriana after his studies, is considered "a great Italian master of the 20th century, who knew how to renew the artistic language of the landscape while maintaining a strong link with 19th century painting". His production is post-impressionist in nature, especially in the large landscape production that depicts the Po and Bergamo plains, the Venetian lagoon and some Parisian glimpses, admired during some travels. In his works, Pastorio creates suggestive atmospheres using infinite ranges of colours, which harmonize and sometimes even contrast, but always presented as a transparency which annuls the static nature of the representation and with a delicacy which expresses his devout religiosity towards nature and the created. Less frequent in his production are floral subjects, such as this composition in a vase of wild flowers, among which poppies and cornflowers stand out, with a bulb abandoned on the table top. The work, coming from a private collection, is presented in a frame.

Oil on the table. Signed lower right. On the back there is a label of participation of the work in the artist's personal exhibition held in May 1960 at the San Babila artistic center in Milan. The still life is given by the composition of some containers - two vases, a teapot, a cloth - on a spartan kitchen table; the colors of the elements blend with those of the background, in some cases almost seamlessly. Here we find the dark colors linked to the earth and peasant life, typical of Cantatore's first production, which then opened up to brighter ranges under the influence of Matisse. The work is presented in a frame.

Mixed technique on paper. Signed lower right. Ezio Pastorio, originally from Cremona but transplanted to Valseriana after his studies, is considered "a great Italian master of the 20th century, who knew how to renew the artistic language of the landscape while maintaining a strong link with 19th century painting". His production is post-impressionist in nature, especially in the large landscape production that depicts the Po and Bergamo plains, the Venetian lagoon and some Parisian glimpses, admired during some travels. In his works, Pastorio creates suggestive atmospheres using infinite ranges of colours, which harmonize and sometimes even contrast, but always presented as a transparency which annuls the static nature of the representation and with a delicacy which expresses his devout religiosity towards nature and the created. Less frequent in his production is portraiture, which nevertheless expresses his ability to use color as a delicate transparency, which brings out the effects of light and shadow generated by human expressions even in the faces. The work is presented in a frame.

Oil on wooden board. Signed lower left. The portrait of this woman of the vulgar takes place after the return of Domenico Cantatore (artist born in Puglia but raised and established himself artistically in Milan) to his homelands, which took place after 1956, which led him to choose as the undisputed protagonist of his works the South, its landscapes but also its human figures, through the portraits of its women and men, depicted with great realism. The work is presented in a frame.

Embroideries on canvas, cut out and applied on a wooden panel. Probably belonging to a larger composition, then reworked to create decorative series, the chalice-shaped corolla of a flower with a long stem, filled with fruit and other flowers, with variegated colors. It is presented in a stylish frame.

Oil on cardboard. The painting proposes a rugged mountain landscape, in central-southern Italy, with ancient ruins and small human figures. The typology of landscape refers to the nineteenth-century production of "Grand Tour", which offered landscape or urban views as "souvenir postcards" for European travelers to discover the artistic beauties of Italy (and beyond). On the frame there is an unconfirmed attribution label to Alessandro Castelli, a nineteenth-century Roman painter and engraver. The painting is presented in a frame from the early 1900s.

Oil on canvas. Signed lower right. On the back there is a label of participation in the 1960 exhibition of contemporary Italian painting in Milan, organized by the Society for Fine Arts and Permanent Exhibition of Milan. It is a broad glimpse of the city of Venice, taken from one of the islands in front of it, of which some boats moored at the pier can be seen; the scene is horizontally divided quite clearly into two parts, from the central sky line of the city: above the sky, shaded in blue-grey tones, below the sea, with shades instead veering towards green. The atmosphere is clear, of absolute stillness, of immobility. Ezio Pastorio, originally from Cremona but transplanted to Valseriana after his studies, is considered "a great Italian master of the 20th century, who knew how to renew the artistic language of the landscape while maintaining a strong link with 19th century painting". His production is post-impressionist in nature, especially in the large landscape production that depicts the Po and Bergamo plains, the Venetian lagoon and some Parisian glimpses, admired during some travels. In his works, Pastorio creates suggestive atmospheres using infinite ranges of colours, which harmonize and sometimes even contrast, but always presented as a transparency which annuls the static nature of the representation and with a delicacy which expresses his devout religiosity towards nature and the created. The work, coming from a private collection, is presented in a frame.

Oil on canvas. It is a counterpart copy of the original attributed to Francesco Solimena (1657 -1747) and kept as a canvas of the same size in the Galleria Doria Pamphilj in Rome, and traditionally considered a preparatory sketch for a fresco. This copy, from the material analysis, can be dated to the mid-18th century. The allegory, inscribed in an oval, represents a seated female figure who with her left hand holds the model of an architectural building, helped by a putto, while with the other hand she indicates a crown and a tiara, resting on a base which bears the name Europa. Around her are other cherubs, different objects, and a horse. The painting shows signs of restoration and relining.

Oil on canvas board. Signed lower right. Ezio Pastorio, originally from Cremona but transplanted to Valseriana after his studies, is considered "a great Italian master of the 20th century, who knew how to renew the artistic language of the landscape while maintaining a strong link with 19th century painting". His production is post-impressionist in nature, especially in the large landscape production that depicts the Po and Bergamo plains, the Venetian lagoon and some Parisian glimpses, admired during some travels. In his works, Pastorio creates suggestive atmospheres using infinite ranges of colours, which harmonize and sometimes even contrast, but always presented as a transparency which annuls the static nature of the representation and with a delicacy which expresses his devout religiosity towards nature and the created. Less frequent in his production are floral subjects, such as this composition of variegated flowers in vases, which nonetheless reflect all the artist's expressive capacity and his skilful use of colour. The work, coming from a private collection, is presented in a frame.

Oil on canvas. At the bottom right you have the signature, the location of Paris and the date. In the delicate transparencies typical of Ezio Pastorio, a view of the Seine crossed by several bridges is proposed here, at the point where it runs alongside the Musée d'Orsay on the left. Ezio Pastorio, originally from Cremona but transplanted to Valseriana after his studies, is considered "a great Italian master of the 20th century, who knew how to renew the artistic language of the landscape while maintaining a strong link with 19th century painting". His production is post-impressionist in nature, especially in the large landscape production that depicts the Po and Bergamo plains, the Venetian lagoon and some Parisian glimpses, admired during some travels. In his works, Pastorio creates suggestive atmospheres using infinite ranges of colours, which harmonize and sometimes even contrast, but always presented as a transparency which annuls the static nature of the representation and with a delicacy which expresses his devout religiosity towards nature and the created. The work, coming from a private collection, is presented in a frame.

Oil painting on canvas. Signed lower right. On the back, this label from the "Ponte Rosso" gallery in Milan, from the "La Roggia" gallery in Palazzolo (Bs) and participation label in Clusone at the exhibition "50 years of painting by Ezio Pastorio" in 1988. On the frame, this additional title Pianura Padana, who was one of the subjects most represented by Pastorio. Here is a glimpse of the plain, with farmhouses, sparse trees and pools of water, all dominated by the snow-capped alpine peaks in the background, which blend chromatically with the sky, to create a continuum between the two parts into which it is divided landscape horizontally. Ezio Pastorio, originally from Cremona but transplanted to Valseriana after his studies, is considered "a great Italian master of the 20th century, who knew how to renew the artistic language of the landscape while maintaining a strong link with 19th century painting". His production is post-impressionist in nature, especially in the large landscape production that depicts the Po and Bergamo plains, the Venetian lagoon and some Parisian glimpses, admired during some travels. In his works, Pastorio creates suggestive atmospheres using infinite ranges of colours, which harmonize and sometimes even contrast, but always presented as a transparency which annuls the static nature of the representation and with a delicacy which expresses his devout religiosity towards nature and the created. The work, coming from a private collection, is presented in a frame.

Embroideries on canvas, cut out and applied on a wooden panel. Probably belonging to a larger composition, then reworked to create decorative series, the chalice-shaped corolla of a flower with a long stem, filled with fruit and other flowers, with variegated colors. It is presented in a stylish frame.