Leopold Bara

Women by the roadside table by Leopold Bara

Attr. to Karel Breydel, known as the Knight of Antwerp (1678 - 1733) Battle with knights and landscape in the background Oil on canvas, cm 44.5 X 36.7 Frame 52.5 x 45 cm The pain...

Paolo Paoletti (Padua, 1671 - Udine, 1735) Still life with fruits on a shelf Oil on canvas, 53.5 x 81 cm Expert opinion Dr. Gianluca Bocchi The still life under consideration can...

Scope of Pietro Bardellino (1728-1806), circa 1760s Presentation of Mary in the Temple Oil on canvas, 163 x 150 cm With frame, cm 166 x 152 Dealt with in the proto-gospel of James, an apocryphal gospel, Mary's presentation to the temple remains to this day one of the most moving Marian artistic episodes. The moment figured here, in which the little Virgin is encouraged to the high priest by her nobly determined mother Anna, encapsulates a composition harmoniously cradled between Baroque and Classicism. All present turned in amazement to observe the young woman's unexpected entry into the sacred premises, while a direct light detached her figure from the soft incensed air. This strong expressive naturalness, added to the clear formal concreteness used by the artist, intoxicates the painting with the academicism already belonging to Francesco Solimena and Giacomo del Po, on a par with the greatest Neapolitan masters. The thoughtful consistency with which the artist organizes the luminous and tangible colors also formalizes his dependence on Pietro Bardellino, a distinguished exponent of the first Rococo investigations on Neapolitan soil. Committed from his youth to the great hall of the Farmacia degli Incurabili, Bardellino turned to the Oratory of the Confraternity of the Whites of the Holy Spirit, working at the same time for Bitonto Cathedral. Appointed a member of the Academy of Fine Arts, he was recalled there as an active collaborator by Vanvitelli himself, in 1773. A debtor in turn to the style of Francesco de Mura, his master, by the mid-18th century Bardellino was already registered as a fresco painter at the main royal residences of Ferdinand IV of Bourbon, reaching the pinnacle of his success there in 1781 with the commission to fresco The Virtues Crowning Ferdinand IV and Maria Carolina on the huge ceiling of the Grand Hall of the Palazzo dei Regi Studi in Naples (later to become the Royal Bourbon Museum used in our days as the National Archaeological Museum of Naples). This evidence allowed him to become a master in the technique of fresco painting, boasted therefore at several noble residences, among the interiors of which it is possible to recall those of Cellamare, Ischitella and Spinelli di Fuscaldo. A coloristic lucidity, similar to that which shines in the present, returns in Bardellino's late works, now exhibited in the old apartment of the Reggia di Caserta (Science and the Arts, Peace and War, Innocence, Simplicity, Truth, Day and Night), albeit colder, due to the artist's adoption of the northern European art trends fashionable at the court of the Bourbon consort Maria Carolina, also influencing Corrado Giaquinto...

Workshop of Gio Benedetto Castiglione called the Grechetto (Genoa, March 23, 1609 - Mantua, May 5, 1664) Jacob's departure for the land of Canaan Oil on canvas, 80 x 115 cm - Fra...

Domenico Olivero (Turin, August 1, 1679 - January 13, 1755) Game of bowls Oil on canvas, 43 x 65 cm With frame, 54.5 x 76 Expert opinion Prof. Alberto Crispo The painting shown here depicts peasants playing bowls near a farmhouse, while one of them offers sweets to a little girl. The canvas, in my opinion, can be traced back to the hand of Pietro Domenico Olivero (Turin, August 1, 1679 - January 13, 1755), as revealed by comparisons with other works by the artist, such as the Peasants' Feast already at the Gilberto Zabert Gallery in Turin, where we find an entirely similar layout, with the figures crowded around the building, placed on the left, and some household goods piled up on the right, including a copper cauldron almost identical to the one sketched in our painting. But see also other similar subjects painted by the Turin-based artist, such as the Game of Bowls already at the Cantore Gallery in Modena or the other version on the Genoese market in 2019, which, although radically different compositionally, confirm the painter's interest in playful themes and manifest the same ways in delineating characters, with synthetic and robust brushstrokes. The artist was born in Turin, in the parish of St. Thomas, on August 1, 1679 to Giovanna and Francesco, a carver by profession. He trained at the workshop of the painter and architect Melchiorre Baldassarre Bianco. He was esteemed by Victor Amadeus II of Savoy, who commissioned paintings for the Venaria Reale (1714), the Royal Palace of Turin (1716), and Rivoli Castle (1724), as well as by his ministers Pietro Mellarède and Carlo Vincenzo Ferrero di Roasio marquis of Ormea whose collections counted many of the painter's works. His success on the Turin art scene earned him election as prior of the Accademia di San Luca in Turin (1726). In 1731 he painted the eleven canvases with Stories of Franciscan Saints in the sacristy of the church of St. Thomas in Turin, while in 1734 he made the Marriage at Cana for the sanctuary of Oropa. The Savoy commissions continued with the ten canvases executed for the castle of Agliè (1737), the decoration of the third room of the New Archives in the Royal Palace of Turin (1739-41), and the thirty or so works for the hunting lodge at Stupinigi (1748-51). The painter also measured himself in designing sets for the Teatro Regio in Turin (1745-46). He made his will on November 15, 1754, and died in his hometown on January 13, 1755. Olivero's genre scenes, such as the one commented on here, reveal a focus on Flemish painting, particularly by David Teniers the Younger, Peter Mauritz Bolckman, Theodor Helmbreker, and Cornelis de Wael, as well as Roman bamboozlers such as Pieter van Laer, Michelangelo Cerquozzi, and Jan Miel...

Follower of David Teniers the Younger, 17th century St. Anthony at prayer Oil on copper, 38 x 30 cm Framed, 43 x 35 cm From the late 16th century, the complex symbolism used by ...

Born in 1938, Girona. Spain. He studied at the Royal Catalan Academy of Fine Arts and the Royal Academy of Fine Arts in Madrid. Torner de Semir’s work bridges the gap between the ...

Georges Dayez (French, 1907-1991). “Vendimia” Vintage / Grape Harvest / Wine Harvest , Oil on paper, 20”x 26 1/3, framed 27 1/4 x 33 1/4. Dayez was a...

A signature, dynamic work by Giancarlo Impiglia with a handmade, gold-leaf frame by the artist. Born in Rome, Impiglia moved to New York in the ‘70s, where he established a signatu...

"Horses Running", a bold abstract impressionist oil painting with heavy impasto. By Sheila Hedricks. Oil on board. In a period hand...

Abstract Modernist oil painting by Zoute dated 1941. Oil on board. Unframed. Zoute (Born-Leon Salter, 1903-1976) was self-taught and well exhibited during his lifetime. He painted from 1940-1954 (he stopped painting at this later date due to his wife's illness and death and never painted again) A self-taught artist, he was part of the great modern wave. He exhibited with many of the most notable artists of the day such as Picasso, Braque, Klee and others at the invitation only State University of Iowa International Show 1946-1947. He had numerous one man shows at NYC galleries, Mortimer Levitt / Joseph Heller...

Ljuba Petrović (Serbian, 1928) Busy Winter Landscape • Oil on artist board / thick card • Alluminium frame ca. 35 x 77 cm • Visible image ca. 20.5 x 62.5 cm • Signed and dated lower right (19)73 • Good, untouched original condition Ljuba Petrović is a Serbian painter born in 1928 in Nis, ex Yugoslavia / now Serbia. Originally an agricultural worker, he later worked as a painter decorator and served as a town hall official in his native Nis. He went on to create frescos, wall paintings and small paintings, which after joining local exhibitions, he exhibited in 1973 in Geneva, Switzerland and in the eighties successfully in Paris, at the Salon International d'Art Naïf. Petrović is a typical representative of the Yugoslave naïve school of painting...