A. Vismara Lombard Landscape Oil on Canvas from the XX Century - Lombard Landscape

The Park 1979

Oil on hardboard. Signed lower right. Further signature, date and title on the back. Giovanni Balansino, Piedmontese by origin but Lombard by adoption, chose to depict his love for both lands with his painting made of broad and nervous brushstrokes, dedicating a large part of his production to them. In the proposed painting, Il Balansino presents a glimpse of a city park, with a small terraced relief, animated by a couple of barely sketched figurines that blend into the natural environment, due to the overlapping of colors applied with rapid brushstrokes and with indefinite contours. the work is presented in a frame.

Cervignano del friuli 1930

Oil on board. Signed lower left. On the back there is a further signature, with the title and the date of creation (July 1930). This small glimpse of the Friulian village located along the course of the Aussa river (or Ausa, according to the dialectal term), is part of the extensive landscape production of Carlo Sartorelli, who explored various Italian regions. The work is presented in a period frame.

View of the Naviglio in Milan

Oil on plywood. Signed lower left. The small glimpse of a Milanese canal well expresses the production of Giovanni Riva, who was a painter, sculptor and ceramist. Born and educated in Turin, where he always lived, Giovanni Riva participated in numerous national reviews and exhibitions, including the Venice Biennale of 1940 and 1942. Among his production as a ceramist, the faces of many Lenci dolls are particularly remembered. In painting he devoted himself above all to glimpses of Turin, Milan and Venice, rendered with great spontaneity and immediacy, as well as genre scenes. The systematic study of ancient art, the adherence to the Renaissance ideals of the sculpture of Donatello, Michelangelo and Giambologna pushed Giovanni Riva towards the adoption of an expressive code similar to the taste of the romantic nineteenth century, rather than to futurist dynamism or surrealist visions . The work is presented in a frame.

Bruges 1979

Oil on hardboard. Signature and location lower right. On the back there is another signature, with the title and date of the work. Giovanni Balansino, Piedmontese by origin but Lombard by adoption, chose to depict his love for both lands with his painting made of broad and nervous brushstrokes, dedicating a large part of his production to them. In this case, instead, it offers a glimpse of Bruges, a well-known Flemish town. The work is presented in a frame.

Oil on hardboard. Signed lower right. Further signature, date and title on the back. Giovanni Balansino, Piedmontese by origin but Lombard by adoption, chose to depict his love for both lands with his painting made of broad and nervous brushstrokes, dedicating a large part of his production to them., which this glimpse includes of a town in the Lombard plain. In frame.

Oil painting on canvas. At the bottom left there is an unidentified signature (Parravicini?). The hilly landscape, with sparse and low vegetation, is inhabited by a solitary brick farmhouse, squared and equally bare; above, to accentuate the atmosphere of solitude, a sky full of gray storm clouds. The painting is presented in a period frame.

Nude Concept

Crayons on paper. Signed lower right; further signature on the back, with the title. Delicate female nude, with soft colors, by the Venetian painter Eugenio Polesello, best known for his landscapes. In frame.

Figure with Tambourine 1927

Drypoint print. Signature printed lower left. Further signature in pencil at the bottom, with serial number 67/125. In the vast production of Ardengo Soffici we also find various human figures, which well express his choice to return to traditionalism, after having attempted various avant-garde experiences. The work is presented in a frame.

Landscape with Glimpse of Small Town

Oil on cardboard. Signed lower right. In Giuseppe Solenghi's extensive production, the urban landscapes of Milan or the glimpses of the Venetian lagoon prevail, but there are also various glimpses of the countryside, mainly from Lombardy. In this glimpse of the countryside, which from the top of a hill widens the gaze on the wide valley animated by small villages, framed by flowering trees, we find the exemplary pictorial technique of Solenghi which uses a rather material color but applied with quick brushstrokes, with delicacy of colors. 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.

Flowers in vase 1972

Oil on canvas board. Signed lower left. The composition of some flowers in a simple terracotta vase is characterized by the use of a strongly material colour, typical of the Gussago artist Eugenio Levi. Presented in a stylish frame.

Sudden Thinking, 1984

Oil on cardboard. signed top center and dated bottom right. Further signature, date and title on the back. The work belongs to the last period of the painter of Marche origins Renato Bontempi, who first trained in Luca but then lived in Milan. From the initial figurative production, Bontempi progressively moves towards an abstract painting, to which the picture proposed here belongs. In Cronice.