Religious Subject Oil on Canvas Italy XVII-XVIII Century - Sant'Antonio Abate e San Paolo l'Eremita
Sant'Antonio Abate e San Paolo l'Eremita
Artwork title: Sant'Antonio Abate e San Paolo l'Eremita
Subject: Landscape with Figures
Artistic technique: Pittura
Technical specification: Oil on canvas
Description : 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.
Product in good condition, with small signs of wear.
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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
17th century - from 1601 to 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: Landscape with Figures
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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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 painting on canvas. Northern European school of the late 1600s. Portrait of an elegant lady, dressed in brocade, and with a mantle of white fur with black patches draped over one shoulder; the woman exhibits an elaborate hairstyle embellished with leather, with rich jewels also adorning the mantle and the sleeve of the dress. Restored and relined, the painting is presented in a repurposed antique frame, in shaped and lacquered wood.
Oil on canvas. The two paintings, certainly similar in terms of subject type and pictorial methods, offer two landscape glimpses typical of the 17th and 18th Nordic production. They feature large countryside spaces near watercourses and inhabited by farmhouses. There are figures of peasants and commoners focusing on their work. The blue mountains in the background, preceded by gentle hills and surrmounted by a blue sky with white clouds. They had been previously relined and restored and they both show color spots and opacity. They feature a contemporary frame.
A Sacrifice to Venus
A Sacrifice to Venus
Watercolor on paper. At the bottom left the name Giuseppe Cades, Although on the back, in addition to the attribution, the title "The oath of the Vestal Virgin". A girl is offering garlands of flowers to the statue of the goddess Venus, traditionally painted in a discrete way. She's holding the veil with one hand to cover the loins. The other hand covers the breast and the head with the hair gathered and adorned with flowers. Behind the girl, a young woman watches the scene, while a third peers from behind the column of the temple: therefore it seems to be a scene of supplication to the goddess, asking her to favor the love of two young men: according to both Greek and Roman tradition, the young before the wedding woman devoted themselves to this goddess, which was considered as the protector of marriage and conjugal fidelity. The work seems to be very close to the production of Giuseppe Cades, who in the 1780s and 1790s became one of the best known and appreciated personality in the Roman artistic world. He was a draftsman and an engraver too. The work is framed
Oil on canvas. Center-Italian School. Typical dynamic scene of baroque taste focused on the figures of the Virgin Mary and the Child surounded by other adoring figures: on the right there is Saint Joseph , on the left two shepherds and on top an array of angels incensing, The painting, already restored, shows small drops of color. Displayed in frame.
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.
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 on canvas. Northern Italian school of the seventeenth century. The young man is portrayed posing with books by his side and in his hand, indicating his propensity for study; the heraldic coat of arms of the noble family to which the young man belongs is depicted on the top right. Restored and relined, the painting is presented in a period frame.
Oil on canvas. Bloody scene depicting a puma assaulting two watchdogs. The dogs are free from their chains, but they are succumbing to the puma. Restored and relined, it requires cleaning. Revival gilded frame. 18th century.
Oil painting on canvas. Northern Italian school of the 18th century. A peculiarity of this scene is the presentation of the characters concentrated in the lower part of the canvas, while in the upper one dominates on the left the great architectural structure, which is meant to be the cave, but which is a tall and imposing wooden structure, flanked on the right by the darkness of the night, interrupted by the gap of light opened in the heavens, from which the angels come out. The characters are willing to converge, along an oblique line ascending to the left, in the direction of the Holy Family, in particular towards Mary and the Child, who are on the same diagonal as the celestial beam of light. On the right of the Holy Family, the Magi, with their retinue of servants and animals, behind which opens a landscape that evokes the distant lands from which they come. The painting is also animated by the play of colors and lights, with alternating lights and shadows, bright colors and dark backgrounds. Restored and relined, the painting is presented in a beautiful gilded frame from the end of the 19th century.
Rest on the Flight into Egypt
Rest on the Flight into Egypt
Oil painting on canvas. XVIII -XIX century. The sacred theme in this scene takes on a familiar connotation, full of very earthly tenderness and intimacy: in an almost exotic context, which evokes an oasis in the desert for palm trees and a spring of water in a barren and hilly landscape. bare, Joseph and Mary sit to rest during their flight to Egypt, to escape the persecution of Herod; the mother tenderly holds baby Jesus on her knees, looks at him tenderly and swaddles him, while Joseph observes them pleased and relaxed. The whole scene is characterized by the dominance of brown-ocher colors, from which only Maria's dress differs, in her traditional blue and red colors; in the background, a clear sky in the colors of a dawn that has just dawned, with shades of pink. The canvas was applied on a new frame from the mid-1900s and placed in a frame from the same period, which has some shortcomings.
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.
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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