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Mary Magdalene Penitent Reni Paint Oil on canvas Old master 17th Century Italy

Mary Magdalene Penitent Reni Paint Oil on canvas Old master 17th Century Italy

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Mary Magdalene Penitent Reni Paint Oil on canvas Old master 17th Century Italy

1600-1650

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Located in Riva del Garda, IT
Genoese school of the second half of the seventeenth century Circle of Domenico Piola (Genoa 1627-1703) The Holy Family Oil painting on canvas 83 x 68 cm. - in an antique frame 99 x...
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17th Century Old Masters Paintings

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Guardian Angel Ferri 17/18th Century Paint Oil on canvas Old master Roman school
Located in Riva del Garda, IT
Roman painter, 17th-18th century Ciro Ferri (Rome, 1634 - Rome, 1689) follower of The Guardian Angel (Tobiolo with the archangel Raphael) Oil on tea 100 x 75 cm. in antique frame 1...
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17th Century Old Masters Paintings

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Oil

Venus Love Guercino 17th Century Paint Oil on canvas Old master Emilian school
Located in Riva del Garda, IT
Giovanni Francesco Barbieri, the Guercino (Cento 1591 - Bologna 1666), workshop Attributable to, Benedetto Gennari (Cento, 1633 - Bologna, 1715) Venus disarming Love oil on canvas ...
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Portrait Paint Oil on canvas Old master 16/17th Century Italian Raffaello Art
Located in Riva del Garda, IT
Tuscan painter active towards the end of the 16th century Portrait of Captain Niccolò Orsini (Pitigliano, 1442 - Lonigo, 1510), count of Pitigliano and Nola. Tuscany, end of the 16th century Oil on canvas, 64 x 47 cm., Framed 89 x 73 cm. The portrait we present to you shows the effigy of a vigorous high-ranking male figure in armor, in the most typical Renaissance pose, half-length and taken in profile, with his face and gaze turned to the side; the serious and intense expression and the facial features evoke at first glance the portraiture of early Florentine mannerism. He is Niccolò III Orsini (Pitigliano, 1442 - Lonigo, 1510), count of Pitigliano and Nola and son of Aldobrandino Orsini, famous leader and captain (or capitano di ventura) who lived between the fifteenth and sixteenth centuries, who served for the state Pontifical in Naples and Florence and above all for the Republic of Venice. Portraiture with these characters, which derives from ancient coinage, was used in the sixteenth century in the sequences of Portraits of Illustrious Men, both in painting and in sculpture. The profile portrait was in fact a genre reserved, according to the Renaissance tradition, for celebrations, presenting those characteristics of imperturbability typical of the military role covered. Our painting is a work created by an author active in Tuscany towards the end of the sixteenth century, adhering to those pictorial styles made famous by the portraitist Cristofano di Papi dell'Altissimo (1530-1605), a pupil of Bronzino and then of Pontormo, known for having created a collection of about 500 portraits of illustrious men, known as the 'Gioviana Series' (now in the Uffizi Gallery); and among these it is possible to identify one dedicated to Niccolò Orsini. Our painting is inspired, in particular, by a print taken from the collection of prints...
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Pietà Cherubs Paint Oil on canvas Religious Rome 16/17th Century Michelangelo
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Portrait Philip V King Rigaud Paint Oil on canvas 17/18th Century Old master Art
Located in Riva del Garda, IT
Hyacinthe Rigaud (Perpignan 1659 - Paris 1743) Circle Portrait of Philip V, King of Spain (Versailles 1683 - Madrid 1746) Oil on canvas 72 x 59 cm - framed 87 x 74 cm. The painting examined here, depicting King Philip V of Spain (Perpignan 1659 - Paris 1743), is to be placed in the circle of the painter Hyacinthe Rigaud (Perpignan 1659 - Paris 1743), one of the most significant portrait painters of his time and a great interpreter of the French school. This is a work of excellent pictorial quality: note the rendering of the facial features and the sharpness of the contours emphasised by the light. The face is characterised by chiaroscuro passages that verisimilarly reproduce light and its effects, rendered with great skill. Philip V wears a black satin costume with a sword at his side, he wears the stiff white Spanish collar and at the same time wears the blue sash of the Order of the Holy Spirit and the collar of the Habsburg Order of the Golden Fleece: this bringing together of the two main orders of France and Spain announced the possibility of a union between the two crowns. In Spanish costume, this effigy is nevertheless fully in line with the French tradition of ceremonial portraiture, also testifying to the renewal that Rigaud had brought about, particularly through the relationship between the character and the splendour of the decoration. The work is inspired, reworked in a reduced format to make it suitable for a private clientele, by the large painting that Rigaud made for the sovereign around 1700, today conserved in the Louvre, reproduced by the same workshop in numerous other versions. The account books...
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17th Century Old Masters Paintings

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Oil

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