Ancient Painting Landscape '700 Painting Oil on Canvas Framed Painting
Work title: Paesaggio con figure
Artistic school: North-European School
Time: 18th Century / 1701 - 1800
Subject: Landscape with Figures
Artistic technique: Painting
Technical specification: Oil on Canvas
Description : Paesaggio con figure
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.
Product in good condition, shows small signs of wear. We try to present the real state as fully as possible with photos. If some details are not clear from the photos, what is reported in the description will prevail.
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Artistic school: North-European School
Time: 18th Century / 1701 - 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: Landscape with Figures
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.
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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
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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.
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. Delicate and accurate composition dedicated to the "drama" of the sea and of the storms: some sail boat with people are at the mercy of the high waves that are threatening to crush them agains the rocks. The types of figures and their making are close to Francesco Guardi's style a venetian painter from 18th century that was famous for his paintings full of imaginary, contemplative and sentimental atmoshepes. The original canvas had been restored.
Oil on canvas. French school of the seventeenth century. The scene, set at night in the garden of a villa, of which you can glimpse the ornate facade on the right and in which the fountain gushing with cherubs stands out, under a dark sky and further obscured by heavy clouds, proposes two figures who entertain each other in conversation : an elderly modestly dressed is sternly admonishing a seated young man, richly dressed, who seems instead to make the gesture of mea culpa with his hand. The physiognomy and the gestures of the two characters, together with the style of the clothes, would refer to the philosopher Aristotle who was called to the court of Macedon to be the tutor of the young Alexander, the future king then known as Alexander the Great: according to what Plutarch recounts in his “Parallel Lives”, the young Alexander was a brilliant pupil, so much so that he was also initiated into the most profound and esoteric Aristotelian doctrines, from which derives the aura of mystery and profound interiority that shines through in the work presented here. The painting has been restored and relined. It is presented in a stylish frame. The painting, restored
Oil on canvas. The composition is not a traditional still life because the fruit (grapes and apples) and the bird are inserted in a large landscape, as its added elements in the foreground; Behind them opens a verdant countryside with a village on the hill. Restored and relined, the painting is presented in a period frame.
Oil on canvas. French school of the seventeenth-eighteenth century. The external scene is divided into two strongly contrasting parts: on the left, on the dark and gloomy background of a rocky wall, there are some ancient ruins, bases and fragments of columns with fallen damaged statues; on the right instead, against the background of a blue sky and gray from the clouds, the mountainous landscape opens onto a path, from which some figures emerge, a lively woman carrying a laundry basket and holding a child by the hand, a wanderer with his bundle of shoulders. It seems a metaphor between the past, now dead and dark, and the present, alive and lively. Restored and relined, the painting is presented in an early 20th century frame.
Oil on canvas. Venetian school of the eighteenth century. The portrait proposes the figure of a young woman wearing an everyday dress, but embellished with spotted fur edges; curiously, with the raised arm she flaunts a fur muff tucked over one hand, probably a habit to underline a fashion of the time. The painting shows signs of restoration, with conservation of the original canvas, although reassembled on a new frame. It is presented in a coeval oval frame, but surmounted by a wooden frieze added at a later time.
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