Marina con burrasca Dipinto Mathieu van Plattenberg, detto Monsù Montagna

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...

Giuseppe Roncelli (Candia, 1663 - Bergamo, 1729) Rest on the Flight into Egypt Oil on canvas, 55 x 45.5 cm With Frame, 65 x 77 cm The painting under consideration, by Giuseppe Ro...

Antonio Francesco Peruzzini (Ancona, 1643/1646 - Milan, 1724) Rural landscape with river and village center Rural landscape with river and tower (2) Oil on canvas, cm 108 x 62 Expert opinion Prof. Emilio Negro Recognizable in the present pair of paintings is the hand of what Mina Gregori called "the most original and path-breaking landscape painter to emerge in the late seventeenth century," namely Antonio Francesco Peruzzini. Finally identified by Arslan in 1959 as such a "Perugino," author of a St. Sebastian in a private Milanese collection, Peruzzini has in recent times been reevaluated from his former qualification as a mere subordinate of Lissandrino (Alessandro Magnasco), in comparison with whom he turns out to be an excellent coadjutor and original landscape painter. A distant mountainous horizon, of frozen vigor, is proposed in both canvases interspersed with a spindly tree in the background that screws swirlingly to the sky. The anti-academicism and nonconformism that characterized Peruzzini's entire career appear evident here and justify in retrospect his choice of such figurative collaborators as Magnasco and Sebastiano Ricci...

Clark Van Clemenson (1910- ?) Isola bella on Lake Maggiore oil on canvas, 100x160 cm with frame, 122 x 182 cm signed at lower right C. Clemenson The painting under review shows ...

Joseph Bolzern (1828 -1901) St. Peter's Basilica and the colonnade in front of it Oil on canvas, 53.5 × 70.5 cm with frame, 67.5 x 85 cm Signed and dated at lower left: Bolzern....

Jan Miel (Beveren-Waas, 1599 - Turin, 1663) Roman countryside landscape with farrier Oil on canvas, 114.5 x 146 cm Framed, 132 x 162 cm Published on the portal of the Nederlands ...

Artist: Bernhard Buter (1883-1959) German Title: Rhinish Landscape Medium: Oil on Canvas Dimensions: Framed 19” x 21” , Unframed 11 x 13” Bernhard Buter paints agrarian landscapes i...

Rene Genis (French 1922-2004) “Les Falaise Normande” / The Cliffs of Normand. A sea scape with high cliffs, the beach, and two fishermen. The cliffs are in browns, tans and olives a...

Rene Genis (French 1922-2004) Monument Valley. 1967. Beautiful oranges, browns, greens against a turquoise blue sky. Oil on canvas, laid on mat. Si...

The Great Fire of London in September 1666 was one of the greatest disasters in the city’s history. The City, with its wooden houses crowded together in narrow streets, was a natural fire risk, and predictions that London would burn down became a shocking reality. The fire began in a bakery in Pudding Lane, an area near the Thames teeming with warehouses and shops full of flammable materials, such as timber, oil, coal, pitch and turpentine. Inevitably the fire spread rapidly from this area into the City. Our painting depicts the impact of the fire on those who were caught in it and creates a very dramatic impression of what the fire was like. Closer inspection reveals a scene of chaos and panic with people running out of the gates. It shows Cripplegate in the north of the City, with St Giles without Cripplegate to its left, in flames (on the site of the present day Barbican). The painting probably represents the fire on the night of Tuesday 4 September, when four-fifths of the City was burning at once, including St Paul's Cathedral. Old St Paul’s can be seen to the right of the canvas, the medieval church with its thick stone walls, was considered a place of safety, but the building was covered in wooden scaffolding as it was in the midst of being restored by the then little known architect, Christopher Wren and caught fire. Our painting seems to depict a specific moment on the Tuesday night when the lead on St Paul’s caught fire and, as the diarist John Evelyn described: ‘the stones of Paul’s flew like grenades, the melting lead running down the streets in a stream and the very pavements glowing with the firey redness, so as no horse, nor man, was able to tread on them.’ Although the loss of life was minimal, some accounts record only sixteen perished, the magnitude of the property loss was shocking – some four hundred and thirty acres, about eighty per cent of the City proper was destroyed, including over thirteen thousand houses, eighty-nine churches, and fifty-two Guild Halls. Thousands were homeless and financially ruined. The Great Fire, and the subsequent fire of 1676, which destroyed over six hundred houses south of the Thames, changed the appearance of London forever. The one constructive outcome of the Great Fire was that the plague, which had devastated the population of London since 1665, diminished greatly, due to the mass death of the plague-carrying rats in the blaze. The fire was widely reported in eyewitness accounts, newspapers, letters and diaries. Samuel Pepys recorded climbing the steeple of Barking Church from which he viewed the destroyed City: ‘the saddest sight of desolation that I ever saw.’ There was an official enquiry into the causes of the fire, petitions to the King and Lord Mayor to rebuild, new legislation and building Acts. Naturally, the fire became a dramatic and extremely popular subject for painters and engravers. A group of works relatively closely related to the present picture have been traditionally ascribed to Jan Griffier...

Zygmund Jankowski (1925–2009) painted traditional subjects with exuberant irreverence for traditional rules of color, composition, and perspective. He disparaged imitation and deligh...

Flat Ledge Quarry is one of the many granite quarries in Rockport MA, which actively produced granite for cobblestones until the early 20th century, when asphault became the preferre...