Francesca Strino

STILL LIFE - Francesca Strino - Italian oil on canvas painting

2011

Flowers - Oil on canvas cm.80x60 by Maximilian Ciccone, Italy 2002. Frame available on request from our workshop. In this oil on canvas painting the painter Ciccone draws inspiration from the masterpieces of the great Roman master Mario Nuzzi...

Flowers - Carlo De Tommasi Italia 2013 - Oil on canvas mis. cm. 110x90. Gold leaf gilded and laquered wooden frame ext. mis .cm. 130x110. The painting by the painter Carlo De Tommas...

Grotesque - Carlo De Tommasi Italia 2012 - Oil on canvas cm. 130 x 80. Peral grey laquared wooden frame cm. 150 x 100 The painting created by the painter Carlo De Tommasi is in neoc...

Still life - Massimo Reggiani Italia 2002 - Oil on canvas cm.40x60. The origins of still life can be found in Dutch painting. Reggiani composed this still life inspired by the Dutch ...

STILL LIFE - Oil on canvas cm. 80x90 by Massimo Reggiani, Italy 2007 The origins of still life can be found in Dutch painting. At the beginning of Dutch painting, artists included ad...

Flowers - Carlo De Tommasi Italia 2011 - Oil on canvas cm. 80x50 Frame available on request from our workshop. In this precious oil painting, Carlo De Tommasi is inspired by the comp...

A fine early 19th century oval old master still life with a red parrot and flowers in a gilt shell decorated urn or vase, monogrammed RM lower right, and housed in a molded giltwood ...

English School, circa 1827 A gentleman’s vices the newspaper dated ‘Sunday December 23 1827’ (upper left) oil on canvas 20 ¾ x 24 ½ in. (52.7 x 62.3 cm.) frame 25 ⅝ x 29 ¼ in. (65.1...

JUAN DE ARELLANO Spanish, 1614 - 1676 Cesta de Flores signed Juan de Arellano (lower lright) oil on canvas original period carved, gilt and polychrome...

Provenance: Selma Herringman, New York, ca. 1955-2013; thence by descent to: Private Collection, New York, 2013-2020 This seventeenth century Spanish still-life of a laden table, known as a bodegón, stands out for its dramatic lighting and for the detailed description of each object. The artist’s confident use of chiaroscuro enables the sliced-open squash in the left foreground to appear as if emerging out of the darkness and projecting towards the viewer. The light source emanates from the upper left, illuminating the array, and its strength is made apparent by the reflections on the pitcher, pot, and the fruit in the basket. Visible brush strokes accentuate the vegetables’ rough surfaces and delicate interiors. Although the painter of this striking work remains unknown, it is a characteristic example of the pioneering Spanish still-lifes of the baroque period, which brought inanimate objects alive on canvas. In our painting, the knife and the large yellow squash boldly protrude off the table. Balancing objects on the edge of a table was a clever way for still-life painters to emphasize the three-dimensionality of the objects depicted, as well a way to lend a sense of drama to an otherwise static image. The knife here teeters on the edge, appearing as if it might fall off the table and out of the painting at any moment. The shape and consistency of the squash at left is brilliantly conveyed through the light brush strokes that define the vegetable’s fleshy and feathery interior. The smaller gourds—gathered together in a pile—are shrouded partly in darkness and stand out for their rugged, bumpy exterior. The stoneware has a brassy glaze, and the earthy tones of the vessels are carefully modulated by their interaction with the light and shadow that falls across them. The artist has cleverly arranged the still-life in a V-shaped composition, with a triangular slice of cheese standing upright, serving as its pinnacle. Independent still-lifes only became an important pictorial genre in the first years of the seventeenth century. In Italy, and particularly through the revolutionary works of Caravaggio, painted objects became carriers of meaning, and their depiction and arrangement the province of serious artistic scrutiny. Caravaggio famously asserted that it was equally difficult to paint a still-life as it was to paint figures, and the elevation of this new art form would have profound consequences to the present day. In Spain Juan Sanchez Cotan...

Italian 17th Century The cat and the canary Oil on canvas 37.1/4 x 50 in. (94.6 x 127.5 cm.)

Onofrio Loth (Naples 1665 – Naples 1717) Still life Oil on canvas, cm 37,5 x 47,5 – with frame cm. 50 x 57 Original ebonised wooden frame with gilded parts Expertise: Giancarlo Sest...