Giovanni Fontana

Sleeping Boy - Drawing by Giovanni Fontana - 16th Century

16th Century

The Woman In A Garden is aDrawing in pencil on creamy-colored paper attributed to Gaspard Maillol in the mid-20th Century. Good conditions. The art...

Nude from the back is a graceful sketch in pencil realized by the French painter, illustrator, designer, and cartoonist Auguste Jean Baptiste Roubille . ...

The Outing is a Pencil Drawing realized by Gaspard Maillol (1880-1946). Good condition on a yellowed paper, included a cream colored cardboard passpartout (35x41 cm). No signature. Gaspard Maillol , born on July 10 , 1880 in Barcelona and died on January 6...

Nudes is an original Pencil drawing on paper. Realized in the mid-20th Century. Mint Conditions. The artwork id depicted through soft strokes in a well-balanced compositions.

Erotic Scene is a Pencil Drawing realized by Mino Maccari (1924-1989) in the 1960s. Hand-signed on the lower margin. Good condition. Mino Maccari (Siena, 1924-Rome, June 16, 1989...

The Posing Nude is a Drawing in pencil on ivory-colored paper realized by an anonymous french artist in the early 20th century. Good conditions with some foxing. The artwork is rep...

Charcoal on paper, 60cm x 42cm, (74cm x 60cm framed). The picture is framed behind museum quality non-reflective UV glass. Drawings and paintings of the nude were central to academ...

Pencil on paper, dated (lower right), 55cm x 44cm (76cm x 64cm framed) Drawings and paintings of the nude were central to academic art training in Europe from the 16th century onwar...

Italian School, 16th Century Provenance: Private Collection, New York This intriguing drawing is a study by an anonymous 16th-century Italian artist after a vignette in Michelangelo’s fresco of The Last Judgement in the Sistine Chapel. The altar wall of the Sistine Chapel was already richly decorated when Pope Clement VII commissioned Michelangelo to paint his Last Judgment...

Provenance: Private Collection, UK After initial training under Justus Suttermans and Vincenzo Dandini, in 1673 Anton Domenico Gabbiani embar...

We would like to thank Juliette Parmentier-Courreau of the Custodia Foundation for her welcome and support during the consultation of Glomy’s Journal des Ouvrages. This spectacularly large "feuille de desseins ajustés" commissioned by François Boucher from Jean-Baptiste Glomy is emblematic of the painter's art and mastery of rocaille. It is also fully representative of the taste of this period in the field of decorative arts. The largest of these three drawings, placed at the bottom of the composition, is particularly interesting: dating from around 1756, it constitutes a modello (apparently unpublished) for the frontispiece of the "Catalogue des tableaux de Monsieur de Julienne"), preserved in the Morgan Library in New York. 1. François Boucher, the master of French rocaille The extraordinary career of Francois Boucher was unmatched by his contemporaries in versatility, consistency and output. For many, particularly the writers and collectors who led the revival of interest in the French rococo during the last century, his sensuous beauties and plump cupids represent the French eighteenth century at its most typical. His facility with the brush, even when betraying the occasional superficiality of his art, enabled him to master every aspect of painting – history and mythology, portraiture, landscape, ordinary life and, as part of larger compositions, even still life. He had been trained as an engraver, and the skills of a draftsman, which he imbued in the studio of Jean-Francois Cars (1661 – 1738), stood him in good stead throughout his career; his delightful drawings are one of the most sought-after aspects of his oeuvre. As a student of Francois Lemoyne (1688 - 1737), he mastered the art of composition. The four years he spent in Italy, from 1727-1731, educated him in the works of the masters, classics and history, that his modest upbringing had denied him. On his return to Paris in 1734, he gained full membership of the Royal Academy of Painting and Sculpture with his splendid Rinaldo and Armida (Paris, Musée du Louvre). Although, throughout his career, he occasionally painted subjects taken from the Bible, and would always have considered himself first as a history painter, his own repertoire of heroines, seductresses, flirtatious peasant girls and erotic beauties was better suited to a lighter, more decorative subject matter. His mastery of technique and composition enabled him to move from large scale tapestry...

In this lively and fresh drawing, probably taken from one of the artist's notebooks, Pajou presents us with a composition freely inspired by antiquity, as a souvenir of a visit to th...