Oil on Glass Depicting Our Lady of Sorrows — 18th Century

An exquisite 18th-century Sevillian miniature oil painting depicting the Virgen Dolorosa, a masterfully detailed religious artwork. Artist: Signed by L. Ruiz Medium: Oil on panel Fr...

"MATER DOLOROSA" FOLLOWER OF TITIAN VECELLIO 17th Century MATER DOLOROSA Oil on panel cm. 66 x 52 Black and gold lacquer frame PROVENANCE Roman family CONDITION REPORT Vertical re...

PULZONE Scipione (1554 - 1598) School "Virgin of Sorrows" 17th Century Oil on canvas marouflaged on canvas "Virgin of Sorrows". Follower of Scipione Pulzone. Italian school. Perio...

A beautifully preserved devotional oil painting on copper plate, depicting the Virgin Mary tenderly holding the Christ Child. Executed circa 1700–1750, this 18th-century work embodie...

This 17th-century oil on canvas from Spanish Colonial Peru features a striking depiction of Our Lady of Sorrows. The Virgin is shown with a somber expr...

This antique stunning portrait of Madonna in Sorrow came out from a Palazzo in Florence and an absolute eye catcher. The colors and details are incredible and very typical for an Ita...

Antique Italian painting from the second half of the 18th century. Religious painting depicting the Virgin of Sorrows, of excellent pictorial quality. Oil on canvas framework recentl...

Roman school, late 16th-early 17th century Praying Madonna Oil on canvas, 81 x 69 cm Frame 83 x 95.5 cm A divine whiteness reverberates with vibrant luster on the maphorion of the present Virgin. The palpable iridescence that structures the thin rosaceous garment, woven with the same fresh light, produces a slight rustle when she takes her hands off. The Madonna in fact takes a prayerful pose, opening her palms to underline her fervent ecstatic intention; the white neck is rendered with perishable fullness of pigments, like the hands, perfectly alive, and the very shiny eyes. With fine shrewdness the artist of the present styles the Virgin's hair with thin white ribbons, exacerbating the purity. An evocative light falls gently on the bust, a materialized sign of divine glory. The present can be traced back to the late Mannerist climate that prevailed in the capital after the emanation of the Tridentine council (1545-1563). The late Mannerist licenses that can still be seen there, such as the intense lyricism in the stylistic code adopted by the artist, are innervated in the new basic catechetical intent, which at the end of the century produced a certain figurative rigorism. The present, however, still responds to that extraordinary Roman dynamism that raised the capital to a bulwark for the entire mannerist lesson, matched only by a second artistic center, the Florentine one. The engaging carriage of the Virgin reflects the contemporary examples of Giuseppe Valeriano (1542-1596), a Jesuit painter, returning in the Marriage of the Virgin of the Roman Church of Jesus, as well as in the Madonna of Sorrows in the Recanati Altarpiece, equal ardor. But it is in the Assumption of the Virgin painted in four hands with Scipione Pulzone...