Titian, Tintoretto, Veronese Rivals in Renaissance Venice, Stated 1st Ed

Marty de Cambiaire: Tableaux & Dessins, Paintings & Drawings. 1st Ed softcover catalog in French and English. Works by:Alessandro Ballarin, Cristina et Jean-Luc Baroni, Val rie Basty...

Paintings in the Uffizi and Pitti Galleries by Mina Gregori, Marco Chiarini and Antonio Paolucci. 1st American Ed hardcover with dust jacket. Little Brown & Co., Bulfinch Press Book, Boston 1994. The Uffizi and Pitti Galleries are treasure houses of the most well-known masterpieces in Italian and Northern Renaissance art including Botticelli's "Birth of Venus", Leonardo's "Annunciation", Durer's "Adoration of the Magi" and Titian's "Venus of Urbino...

Tapestry in the Renaissance: Art & Magnificence by Thomas Campbell. Published by Metropolitan Museum of Art, 2002. 1st Ed Exhibition hardcover catalog....

Italian drawings before 1600 in the Art Institute of Chicago: A Catalogue of the Collection, The Art Institute of Chicago, by Suzanne Folds McCullagh and Laura Giles. Published in Princeton, NJ, Princeton Univ. Press, 1997. 1st Ed hardcover with dust jacket The third in a series of scholarly catalogs on the permanent collection of The Art Institute of Chicago, this book focuses on the museum's important holdings of Italian drawings of the fifteenth and sixteenth centuries. The catalog contains comprehensive entries on over 700 drawings, including preliminary studies for major compositions, cartoons, modelli, independent drawings, and copies after Renaissance and Mannerist masters. Featured are major works by some of the most significant artists of the time: Baccio Bandinelli, Federico Barocci, Fra...

A Large and Impressive 19th Century Continental Oil on Canvas "An Allegory of Love" after the original work by Titian - Tiziano Vecellio (Italian 1488-1576), within an ornate gilt-wo...

A 19th Century portrait by Italian artist Fausto Giusto (1867 Naples-1941 Zurich) after a Renaissance painting by Titian entitled "La Bella". An exceptionally detailed portrait by a ...

19th Century French School "Allegory". Oil on canvas. Size 136 x 98 cm. good condition

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...