Giuseppe Gandolfo

Portrait of a lawman in his study

1831

Lando Landozzi (Pisa 1887 - Livorno 1959), Raffaello Gambogi Oil painting on panel 62 x 40 cm signed lower right.

Francesco Paolo Palizzi (Vasto 1825 – Naples 1871), Portrait of his sister Luisa Oil painting on canvas 62 x 49 cm, on the back of the canvas there is the declaration of authenticit...

Lando Landozzi (Pisa 1887 - Livorno 1959), Ulvi Liegi Oil painting on panel 58 x 43 cm signed lower right.

Lando Landozzi (Pisa 1887 - Livorno 1959), Giovanni Bartolena Oil painting on panel 56 x 41 cm signed lower right.

Angelo Dall'Oca Bianca (Verona 1858 - 1942), Profile of Maiden with Rose Oil painting on panel 27 x 19 cm signed lower right.

Domenico Bresolin (Padua 1813 - Venice 1890), Boy in a squero in Venice Oil on canvas applied to cardboard 27 x 16 cm initialed (DB) lower left. Publications D. Ritter, Venedig in...

John William Godward 1861-1922 British A Pompeian Lady Signed and dated "J.W. Godward 1904" (lower right, partially covered by frame) Oil on canvas One of the last and greatest Victorian neoclassical painters, John William Godward is celebrated for his flawlessly executed images of graceful women posed in idealized ancient settings. In this work, entitled A Pompeian Lady, a classical beauty is caught idling in a moment of quiet, solitary reflection. Godward's elegant subjects are depicted with a degree of technical mastery that remains unsurpassed, and the work's dramatic palette, luxurious fabrics and classical vision are all characteristics of his unique take on the neoclassical style. Godward was unmatched in terms of his technical skill and attention to detail. A master of contrasting textures, he paints a diaphanous gown draping against the model’s smooth, milky white skin, which sits against the painstakingly rendered individual hairs of a tiger’s pel. Scintillating color permeates the canvas as well, energizing the otherwise static scene. Each element is given careful attention, and the overall effect is one of both immaculate technique and sensual tactility. Along with his contemporary and mentor, Sir Lawrence Alma-Tadema, Godward set the tone for the Victorian neoclassicist movement. He built his career upon creating images of idealized feminine beauty infused with a Greco-Roman-inspired style. Though greatly influenced by Alma-Tadema, Godward distinguished himself through his predilection for the solitary female figure. His fame rose dramatically in the first few years of the 20th century, when the present work was completed, due to the burgeoning strength of the British Empire and the Victorian society’s preoccupation with ancient Rome. To many of the newly affluent, Roman society was, as Iain Gale writes, “a flawless mirror of their own immaculate world.” The sensuality and mystery of Godward’s maidens, combined with his impressive antique backdrops...

John Falter arranges figures and faces in a way that rival the old masters in their compositional perfection. And he makes it look easy. The expressions are captured so the emotion...

Beautiful oil on canvas from the end of the 19th century figuring the portrait of a young woman. The painting is signed Y Pol on the bottom left . The artist in his performance perfe...

A large and very elegant portrait of a British lady thought to be Dame Anna Neagle, the British actress and singer. English School, 20th Century Portrait of a society lady thought t...

Leon Kroll was above all an academician. To him "abstract art was merely the beginning of a picture. Structurally, "Portrait of a Young Woman recalls some of the portraits from the ...

Oil on canvas Image size: 30 1/4 x 25 inches (77 x 63 cm) Original hand carved gilt frame Provenance Private Estate, England This is a very fine example of Kneller's work in the early 18th century. Here, the emphasis is placed directly on the sitter's alluring femininity, with this being enhanced by the falling hair around her shoulder. This looseness of focus is created with a free fluidity of brushstrokes. He has used a Rembrandt-esque technique of subtle tones in the face, and we can see how Kneller often allowed the bluer ground layer to show through when suggesting the darker flesh tones.The painterly technique seen here is an excellent demonstration of Kneller’s style. The bold handling of the flesh tones is Kneller at his most emphatic, while the sizeable areas of dark grey ground we see are indicative of his method of painting quickly, developed by this stage in his career to cope with the many demands of a large circle of patrons. The same effect is used for the shadows in the face: rather than paint darker colours on top of the pink flesh tones, as most artists would have done, Kneller instead painted in the reverse order, using the ground layer for his dark shadows, and then painting the lighter colours on top. Often he worked with an almost dry brush in strong firm strokes. Here the flesh tones have been rapidly, almost roughly painted, with bold areas of impasto giving way to areas where almost no paint has been applied at all, a trick that allowed Kneller to use the blue-grey ground layer to show darker flesh tones. Godfrey Kneller...