Lambert Sustris's workshop (1515-1520 - c. 1584), Venus and Love Spied on

16th Century

School of Andrea del Sarto (Florence, 1486 - Florence, 1530) Saint John Oil on panel, 57 x 39 cm Framed, 67 x 49 cm The panel depicts St. John, recognizable by his staff and red ...

Herman Posthumus (East Frisia, 1512/1513 - Amsterdam, 1588) Leda & the Swan Oil on canvas, 87.5 x 142 cm Framed, 107 x 161 cm Initial 'P' in the center of a pillow decoration Cr...

Polidoro de' Renzi, called Polidoro da Lanciano (Lanciano, c. 1515 - Venice, 1565) Mystic Marriage of St. Catherine Oil on panel, 47.5 x 34.5 cm Framed, 71 x 58 cm The painting, ...

Girolamo Maria Pesci (Rome, 1679 - 1759) The judgment of Paris c. 1705-1710 Oil on canvas, 47 x 36.5 cm Girolamo Maria Pesci (Rome, 1679 - 1759), a figure distinguished for his e...

Oil on Canvas. Roman school of the 17th century. The large scene depicts the famous episode somewhere between real history and legend, first recounted by Titus Livius in his "Ab urb...

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...

Bartholomäus Spranger (Antwerp, 1546 – Prague, 1611) workshop Aristotle and Phyllis Oil on canvas 64 x 54 cm In frame 79 x 72 cm The curious subject of this painting, quite...

Oil on Canvas. North Italian school of the 17th-18th centuries. The large scene is filled with figures in ancient Eastern garb, set in a northern, richly vegetated landscape with mou...