Items Similar to Venus Paolo Fiammingo Paint Oil on canvas Old master 16th Century Italian Art
Want more images or videos?
Request additional images or videos from the seller
1 of 22
UnknownVenus Paolo Fiammingo Paint Oil on canvas Old master 16th Century Italian Art1570-1599
1570-1599
About the Item
Pauwels Franck, known as Paolo Fiammingo
(Antwerp, 1540 - Venice, 1596)
Venus lying in a landscape
Oil on canvas 116 x 150 cm.
In antique frame 136 x 170 cm.
The work is accompanied by a critical card by Dr. Federica Spadotto
The splendid painting proposed sees portrayed, bare and stretched out on a red brocade cloth in gold sprinkled with roses, a refined and sensual Venus, in a composition with a profound symbolic value, and arriving at the perfect representation of the Renaissance woman who, like Venus, becomes an allegory love, eros, beauty and fertility.
The canvas is part of the prestigious Venetian artistic and cultural environment of the second half of the sixteenth century, whose distinctive distinctive trait can be traced back to its cosmopolitan vocation. This characteristic, as Dr. Spadotto noted in her in-depth study, belongs to the same physiology of the Venetian capital, that is, being a distinctly commercial city located in a strategic point with respect to trade. Representing one of the liveliest ports in the Mediterranean also meant witnessing the continuous passage not only of goods, but of men, ideas, suggestions from distant countries, which influenced not only the taste of their people, but above all art.
This happened thanks to the circulation of prints, as well as pictorial specimens, to which are added the stays of great foreign artists and, above all, the permanence in the capital of a non-negligible number of Dutch, Flemish and German masters.
An emblematic case in this regard comes from Pauwels Franck (Antwerp, 1540 - Venice, 1596), better known as Paolo Fiammingo, who established himself in his native city at a young age - in 1561 a figure enrolled in the Guild of San Luca - and arrived in Venice in 1573. .
He resided in Venice from 1584 until his death, although the stylistic and formal references of some of his works have led critics to believe that in previous years he had undertaken a journey to central Italy, or to Florence and Rome, where he would have metabolized the lively cultural debate that permeated these cities and which, on the other hand, seemed completely absent in Venice.
Here Paolo will be fascinated by the sense of color and by the atmospheric component fixed on the canvas by Jacopo Tintoretto (Venice 1518 - 1594), of which he becomes a collaborator, to undergo, around 1590, the suggestion of Paolo Caliari known as Veronese (Verona 1528 - Venice 1588), both from a coloristic point of view and with respect to precise guiding characters.
The painting in question stands as an illuminating figurative example of what has just been referred to, since it revisits the Venetian pictorial tradition through the Nordic filter, which is grafted onto a typical subject of the Renaissance repertoire. In the Venus in the foreground, with a typically Veronesian physiognomy, the reference to Venus with organist, cupid and dog performed by Titian (Pieve di Cadore, 1488-90-Venice, 1576) and now at the Staatlische Museum in Berlin appears a real homage to the great teacher. With the latter it shares the compositional layout, with the red curtain overlooking the goddess and the landscape in the background, although revisited in a strictly Nordic key, according to a modality that can be traced in the Venus with a dog of Ca 'Rezzonico, in Venice.
In this version of the theme, however, the author is still tied to the Flemish dictates, which in the large canvas under study are the complete synthesis of aesthetics between Northern Europe and the sensitivity of the lagoon. In the small flowers in the foreground and in the very enjoyable landscape backdrop that evokes the great Flemish masters, the very peculiar Venetian light is clearly perceptible: a real seal, together with the sky taken from Caliari, of the pictorial recipe developed by Pauwels. He creates a smooth cameo imbued with elegance, refinement and expressive happiness at the same time, in which the composed feminine beauty and the landscape reproduced with care in detail coexist with a quick, lively brushstroke imbued with light.
The painting is in excellent condition, with a beautiful antique frame.
The work is accompanied by a certificate of photographic authenticity in accordance with the law.
We take care and organize the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. For any additional information, please do not hesitate to contact us.
- Creation Year:1570-1599
- Dimensions:Height: 53.55 in (136 cm)Width: 66.93 in (170 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Riva del Garda, IT
- Reference Number:1stDibs: LU98819363412
About the Seller
4.8
Platinum Seller
These expertly vetted sellers are 1stDibs' most experienced sellers and are rated highest by our customers.
Established in 2017
1stDibs seller since 2018
202 sales on 1stDibs
Typical response time: <1 hour
- ShippingRetrieving quote...Ships From: Riva del Garda, Italy
- Return PolicyA return for this item may be initiated within 7 days of delivery.
More From This SellerView All
- Christ Salvator Mundi Paint Oil on copper 16/17th Century Flemish schoolLocated in Riva del Garda, ITAntique painting depicting the Face of Christ as Salvator Mundi Flemish painter, 16th-17th century Oil on copper 22 x 18 cm./ framed 42 x ...Category
16th Century Old Masters Paintings
MaterialsOil
- Deposition Atala De Roussy-trioson Paint Oil on canvas 19/20th Century FrenchLocated in Riva del Garda, ITThe deposition of Atala Follower of Anne-Louis Girodet de Roussy-Trioson (Montargis, 1767 - Paris, 1824) 19th-20th century Oil on canvas 47 x 65 cm. - Framed 67 x 84 cm The propos...Category
Late 19th Century Old Masters Paintings
MaterialsOil
- Perroneau Portrait Lady Woman Paint Oil on canvas 18th Century Old master FrenchLocated in Riva del Garda, ITJean-Baptiste Perroneau (Paris, 1715 – Amsterdam, 1783) Portrait of a lady Oil on oval canvas 60 x 50 cm. - In frame 77 x 66 cm. Work accompanied by expertise: Raffaelle Colace (Cremona), Ferdinando Arisi Reference bibliography: d’Arnoult, Dominique (2014) Jean-Baptiste Perronneau, c 1715-1783, un portraitiste dans l’Europe des Lumières Excerpt from the expertise of Dr. Colace: This refined portrait of a lady is a perfect example of the style of Jean-Baptiste Perroneau, a very talented French painter, whose most beautiful works are located, just like this one, between the fifth and sixth decades of the eighteenth century. "Perroneaeu is more naturally colored than La Tour, the est, in the peinture de poussière colorée, tout plein de tons clairs, frais, presque humides": this is how his brothers wrote about him in La Maison d...Category
18th Century Old Masters Paintings
MaterialsOil
- Terwesten Woman Allegory Art Paint Oil on canvas 17/18th Century Old masterLocated in Riva del Garda, ITMattheus Terwesten (The Hague, 1670 - 1757) Portrait of a young woman with palette and brushes, as Allegory of the art of Painting Oil on canvas 160 x 91 cm. - In frame 178 x 107 cm...Category
17th Century Old Masters Paintings
MaterialsOil
- Portrait Knight Paint Oil on canvas 17th Century Lombard school Old master ItalyLocated in Riva del Garda, ITLombard painter of the 17th century Portrait of a Knight in Armour Oil on canvas 81 x 70 cm./ Framed 93 x 82 A handsome gentleman in armour, immortalised in an authoritative and pr...Category
17th Century Old Masters Paintings
MaterialsOil
- Portrait Noblewoman Dog Van Loo Paint 18th Century Oil on canvas Old master ArtLocated in Riva del Garda, ITLouis Michel van Loo (Toulon 1707- Paris 1771) attributable Portrait of a noblewoman with her little dog Oil on canvas (79 x 66 cm. - with frame 92 x 78 cm.) A qualitative portrait depicting an elegant noblewoman of French origin, presumably belonging to the wealthy court of Versailles during the reign of Louis XV; this work fully reflects the pictorial qualities as well as the refinement of the compositional style of the French painter Louis Michel van Loo (1707- 1771), one of the most significant portrait painters of his time, and for this reason in demand at the most noble European courts. The work, taking up the traditional formula for portraits of members of the aristocracy, shows the effigy in a half-length pose, slightly turned to the right and looking directly at the viewer. The woman, with a regal bearing, is here portrayed intent on completing her daily beauty ritual, wearing a cape during her make-up, which must have just been completed as pink powder is visible on her cheeks. This luxurious garment reveals a corset with a daring neckline, made of silk and lace, and a coral-coloured dress ending in wide jabote cuffs. Her hair is styled in the French fashion in a hairstyle that highlights her facial features. Having finished her beauty ritual, the woman is intent on removing her cape with one hand, an elegant gesture that emphasises her noble pose. At her side is her small pet dog, sitting on a blue velvet cushion with gold trim. The canvas may have been made on the occasion of a wedding, elegantly celebrating the role of a member of the aristocracy. The presence of the pet depicted in her arms had in fact a precise meaning: the fidelity that is such a well-known characteristic of the dog, declared at the same time the virtues of the effigy. Louis Michel van Loo (Toulon 1707- Paris 1771) was the son of the painter Jean Baptiste van Loo, with whom he studied in Rome and Turin. He attended the Paris Academy, where he won the first prize for painting in 1726. In 1728 he returned to Rome, where he met Francois Boucher. In 1732, passing through Turin, he returned to Paris. In 1737 van Loo became court painter in Madrid, succeeding Jean Ranc...Category
18th Century Old Masters Paintings
MaterialsOil
You May Also Like
- Portrait of a Lady with a ChiqueadorLocated in New York, NYProvenance: Torres Family Collection, Asunción, Paraguay, ca. 1967-2017 While the genre of portraiture flourished in the New World, very few examples of early Spanish colonial portraits have survived to the present day. This remarkable painting is a rare example of female portraiture, depicting a member of the highest echelons of society in Cuzco during the last quarter of the 17th century. Its most distinctive feature is the false beauty mark (called a chiqueador) that the sitter wears on her left temple. Chiqueadores served both a cosmetic and medicinal function. In addition to beautifying their wearers, these silk or velvet pouches often contained medicinal herbs thought to cure headaches. This painting depicts an unidentified lady from the Creole elite in Cuzco. Her formal posture and black costume are both typical of the established conventions of period portraiture and in line with the severe fashion of the Spanish court under the reign of Charles II, which remained current until the 18th century. She is shown in three-quarter profile, her long braids tied with soft pink bows and decorated with quatrefoil flowers, likely made of silver. Her facial features are idealized and rendered with great subtly, particularly in the rosy cheeks. While this portrait lacks the conventional coat of arms or cartouche that identifies the sitter, her high status is made clear by the wealth of jewels and luxury materials present in the painting. She is placed in an interior, set off against the red velvet curtain tied in the middle with a knot on her right, and the table covered with gold-trimmed red velvet cloth at the left. The sitter wears a four-tier pearl necklace with a knot in the center with matching three-tiered pearl bracelets and a cross-shaped earing with three increasingly large pearls. She also has several gold and silver rings on both hands—one holds a pair of silver gloves with red lining and the other is posed on a golden metal box, possibly a jewelry box. The materials of her costume are also of the highest quality, particularly the white lace trim of her wide neckline and circular cuffs. The historical moment in which this painting was produced was particularly rich in commissions of this kind. Following his arrival in Cuzco from Spain in the early 1670’s, bishop Manuel de Mollinedo y Angulo actively promoted the emergence of a distinctive regional school of painting in the city. Additionally, with the increase of wealth and economic prosperity in the New World, portraits quickly became a way for the growing elite class to celebrate their place in society and to preserve their memory. Portraits like this one would have been prominently displayed in a family’s home, perhaps in a dynastic portrait gallery. We are grateful to Professor Luis Eduardo Wuffarden for his assistance cataloguing this painting on the basis of high-resolution images. He has written that “the sober palette of the canvas, the quality of the pigments, the degree of aging, and the craquelure pattern on the painting layer confirm it to be an authentic and representative work of the Cuzco school of painting...Category
17th Century Old Masters Paintings
MaterialsCanvas, Oil
- Portrait of Senator Bartolomeo Panciatichi by Santi di Tito (1574)Located in PARIS, FRThis recently rediscovered portrait of Santi di Tito depicts a Florentine senator, with a letter in his hand indicating that the painting was executed in 1574 when the sitter was 66 years old. On the basis of these clues, it is tempting to view it as a portrait of Bartolomeo Panciatichi, who was painted some thirty years before by Bronzino (1503 - 1572). While the treatment of the hands recalls the Florentine tradition of Mannerist portraits, the comparison with Bronzino's portrait illustrates Santi di Tito's search for greater realism, despite the stereotyped composition. 1. Santi di Tito, Counter-Reformation painter and portraitist Santi di Tito was the great painter of the Florentine Counter-Reformation. He proposed a new artistic language that broke away from Mannerism. Little is known about his training in Florence (perhaps alongside Bronzino or Baccio Bandinelli), but this period of training enabled him to join the Company of Saint Luke, the guild of Florentine painters, in 1554. Between 1560 and 1564, Santi di Tito spent time in Rome, where he frequented the workshop of Taddeo Zuccari. This stay had a fundamental influence on his work, thanks to the discovery of the late work of Raphael, but also his encounters with the painters Francesco Salviati and Federico Barocci. Around 1565, Santi di Tito returned to Florence, where he remained until the end of his life, dividing his talents between the creation of important religious paintings and countless portraits. He became one of the city's leading painters, distinguishing himself, in particular, in the creation of large religious compositions in which the spirit of the Counter-Reformation was reflected. In 1568, Santi di Tito became a member of the Confraternity of Saint Thomas Aquinas...Category
16th Century Old Masters Portrait Paintings
MaterialsPoplar, Oil
- Stunning 17th Century Oil Painting - Study of a Head of a ManBy Anthony van DyckLocated in London, GBStudio of Sir Anthony Van Dyck (1599-1641, Flemish) Study of a Head of Man Circa 1627-32, Van Dyck’s second Antwerp period Oil on paper, laid down on canvas Dimensions 15 x 14 inches...Category
17th Century Old Masters Portrait Paintings
MaterialsOil
- Portrait of a Girl, 17th Century English School Old Masters OilBy Gilbert JacksonLocated in London, GBGilbert Jackson English Active: 1620 - 1650 Portrait of a Girl Oil on panel, signed upper left and Inscribed upper right Image size: 24 ½ x 20 inches Contemporary style hand made...Category
17th Century Old Masters Portrait Paintings
MaterialsOil
- 18th C. Portrait of the 4th Earl of Sandwich a View of Constantinople BeyondLocated in London, GBJohn Montagu, 4th Earl of Sandwich (13 November 1718 – 30 April 1792) Attributed to George Knapton (1698-1778) Dressed in the Turkish manner, stand...Category
18th Century Old Masters Figurative Paintings
MaterialsOil
- Italian Greyhound and Friends - Italian 17thC Old Master dog art oil paintingBy Francesco FieravinoLocated in London, GBThis stunning Old Master 17th century oil portrait painting is attributed to Francesco Fieravino, an artist famous in his day for still lifes and carpets. This painting which dates t...Category
17th Century Old Masters Animal Paintings
MaterialsCanvas, Oil
Recently Viewed
View AllMore Ways To Browse
Old Antique Art
Antique Italian Art
Unknown Master
Old Italian Artist
European Masters Paintings
Old Masters Study
Old European Painting
Various Artists On Sale
English artist On Sale
Art For Law
Large Old Master
Old Masters Italy
Paintings Italian Old
Painting Old German
Small Old Paintings
Antique Paint By Number
Italian Renaissance Art
Old Key