19th Century French Painting Gallant Scene with Musician Oil on Panel

Antique Flemish painting from the second half of the 17th century. Oil on oak panel depicting Musicians, elegant duet with lute player and hunting scene in ...

Antique French painting from the second half of the 18th century. Oil on canvas artwork depicting a gallant party in the woods, genre scene with characters in the style of Jean-Honor...

Great French painting from the second half of the 19th century. Work oil on canvas depicting landscape with nice "Romantic scene" with characters, of good painting hand and pleasing ...

Antique Italian painting from the second half of the 19th century. Framework oil on canvas, depicting interior scene with characters of excellent pictorial quality. Very bright and p...

Antique French painting from the 19th century. Artwork oil on canvas, on the first canvas, depicting a view of a camp with soldiers and horses of good pictorial quality. A painting t...

Antique Flemish painting from the second half of the 18th century. Oil on oak panel framework depicting a gallant genre scene with popular characters. Painting characterized by a tro...

Decorate a study, bedroom, or living space with this colorful antique pastel painting. Created circa 1880 and set in the original carved giltwo...

Oil on canvas of an Englishman and his dog, 19th century. Measures: 33" x 41".

17th century, Emilian school Rural landscape with gallant scenes Oil on canvas, 37 x 47.5 cm With frame 61 x 50.5 cm The bucolic amenity of the present is reflected in the joyful gallant scenes that dot its surface. The locus amoenus described reflects on the more traditional inflection of Arcadia, which in the literary transfiguration was the scenario par excellence of the most carefree pastoral life and out of this world; the painting is therefore a forerunner of what was professed by the actual poetic academy of Arcadia which was established in Rome in 1690, but enthusiastically testifies to the feverish invitations to its acceptance, then widespread in the most avant-garde cultural salons throughout Italy. First Theocritus and Virgil later had awakened with Idilli and Bucoliche that capacity typical of the natural world to allow an escape from reality; the contemplation of perfect natural fruits that followed would have evoked in the spirits of dreaming men back to origins. The bucolic landscape was able to positively give a rhythm to material life, and constituted the concretization of a place devoid of incivility and ugliness, where only dreams, wild music and homages to fruitful nature were allowed. In the present painting widespread figures of shepherd children trace the same intent to the sublimation of earthly life, gathered in pairs, while children on the model of the ancient cherubs cheer the field with flowers and petals. The games of these and the sweet affections of the other characters are rendered through liquid and vibrant brushstrokes, flickering with a white light that opposes the dark shadow of the undergrowth. In the distance, the sky tapers with a silvery and flat brushstroke, while the vertical development of the promoters with architectures helps to introject a bright beam of light into the grassy clearing. The foliage and the turf of the landscape piece are rendered through a digital brushstroke, betraying the Italian brand of the present, influenced at the same time by the seventeenth-century European influences that then conveyed to the capital. The evocative culture of the city attracted many artists from the city of Bologna, from the Italian north but also from the territories beyond the Alps, such as Claude Lorrain and Nicolas Poussin. The historical-artistic heritage of the Italian pastoral scenes was thus able to fill up with the more functional and particular formalisms of the charms coming from elsewhere, such as the expressive tremor of the present, similar to the contemporary French lexicon. The typological restitution from pastoral idyll, in accordance with the intrinsic stylistic qualities of the work, allows us to specify the solid belonging of the present to the Italian hand, similarly to what was then emerging in the pictorial sphere within the Emilian school. In this regard, we should recall the latent influences of two decisive foreign landscape painters who passed through the Emilian belt, such as Claude Lorrain (1600-1682) and Nicolas Poussin (1594-1665); before them, Giovanni Battista Viola...

Pair of antique classical French salon drawings. Charcoal on paper. Illegibly signed. In giltwood frames, early 19th century.  

A stunning 19th century Belgian oil on linen still life painting depicting a hare hunting trophy with incredible attention to detail including the tactile appeal of the hare's fur. H...

A Dutch 19th century oil painting on panel. A Dutch school ( Hollandsche School) painting, oil on an oak panel with a scene of a river landsca...