17th Century Oil on Canvas Italian Antique Religious Painting Madonna with Child

Great Italian painting from the second half of the 17th century. Work oil on canvas depicting a religious subject Madonna with child of good pictorial quality. Painting with a partic...

Antique Italian painting from the 17th century. Framework oil on canvas depicting a religious subject Madonna of good pictorial quality. Beautifully sized and pleasantly furnished fr...

Antique Italian painting from the late 17th century. Framework oil on canvas depicting a religious subject Virgin with child of good pictorial quality. Framework of excellent proport...

Antique Italian painting from the 17th century. Oil on canvas framework depicting a religious subject Virgin with child of good pictorial quality. Painting of great measure and impac...

Italian painting from the late 19th / early 20th century. Artwork oil on canvas depicting Virgin with child in antique Byzantine style of good pictorial quality. Wooden frame of the ...

Antique Italian painting from the 17th century. Artwork oil on canvas depicting a religious subject, Jesus stripped of his clothes, scene of the passion of Christ of good pictorial q...

17th century, Tuscan school Madonna and Child Oil on canvas, 31 x 21 cm With frame, cm 37,5 x 27,5 The pearly incarnations and the thoughtful play of looks between the Virgin, turned to the Son, and Questi, warmly open to the viewer, pour out the present painting with compositional perfection. Virginal fabrics become mottled at the folds, wrapping the Madonna in a thin vitreous mantle. The pastel colors, shining on the pink robe just tightened at the waist by a gold cord, enliven the faces of the divine couple in correspondence of the cheeks, lit by an orange warmth. Even the left hand of the Virgin, composed in perfect classical pose (Botticelli, Madonna with Child, 1467, Musée du Petit Palais, Avignon), is sprinkled with warmth thanks to the immediate touch with Christ. From the nimbus of the Mother a delicate luminous disk is effused, which takes back, in the most distant rays, the colour of the hair of the Son, from the tones of the sun. The Child Jesus is represented intent in a tender gesture of invitation with the right hand, while with the other he offers a universal blessing: with his hand he retracts the index and annular palms, extending the remaining three fingers, symbol of Father, Son and Holy Spirit. The painting welcomes and re-elaborates that typically Tuscan formalism that boasted in the rest of Italy the constant appreciation by the most up-to-date artists and collectors. Arrangement, composition and mixing of colors place the canvas in the middle between the changing mannerist and the sculptural figures of Michelangelo, essential yardstick of comparison in terms of anatomical and expressionistic rendering. In the present, silvery and pinkish powders act as three-dimensional inducers to the Child’s mentioned musculature and to the vivid folds of the clothes, expertly deposited on the lunar whiteness of the skins. While these colours recall the equally brilliantly transparent colours of Pier Francesco Foschi...

This magnificent Madonna and Child belongs to an Itlalian (Roman) school of painting and could be a masterpiece of a Carlo Maratta /Maratti (1625-1713) school. Maratta's style of Bar...

A 17th Century Italian old master painting of Madonna and Child. The early painting has been cleaned, restreached and relined and has an early frame that may or may not be original....

Antwerp School, 17th century Madonna with Child Oil on copper, 71 x 58 cm The Madonna and Child depicted there repeats compositional stylistic features well established in the 16t...

Magnificent Italian 17th century Portrait of Virgin Mary measures 52 x 68 cm without the frame. The colors are stunning and the painting has never been restored. The Master unfortun...

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...