17th Century Oil on Canvas Italian Painting Genre Scene Farrier's Workshop 1680

Antique Italian painting from the 17th century. Oil painting on canvas depicting a lively popular genre scene of great charm, typical of the Bamboccianti school. Many Flemish and Italian painters active in Rome took Pieter van Laer as a reference, known under the pseudonym il bamboccio due to his boyish appearance. It was typical to represent scenes of common life with particular attention to those who live on the margins of society, as in this case: next to Roman ruins we find a party of peasants who eat and...

Antique Italian painting from the 17th century. Framework oil on canvas, on the first canvas, depicting an animated landscape with towers of good pictorial quality. Modern frame in c...

Ancient Flemish painting from the late 17th century. Framework oil on canvas depicting an interior scene of a tavern with characters of good pictorial quality. Painting of good size ...

Antique Italian painting from the second half of the 17th century. Artwork oil on canvas depicting a particular subject Grazing animals of good pictorial quality in the style of Rosa da Tivoli...

Antique Italian painting from the second half of the 17th century. Painting oil on canvas depicting a particular subject Grazing animals of good pictorial quality in the style of Rosa da Tivoli...

Antique Italian painting from the 18th century. Oil on canvas artwork depicting a particular classic genre scene on a bucolic landscape of good pictorial quality. Painting of good size and pleasant furnishings with a non-coeval wooden frame, from the 20th century, carved, gilded and silvered. Frame with fabric passe-partout with some small signs of wear. Artwork of pleasant perspective and good brightness, finely represented characters in classic clothes...

17th century, Nuvolone workshop Annunciation Measures: Oil on canvas, 98.50 x 127.00 cm - with frame 144 x 115 Depicted is a canonical Annunciation which sees Mary on her knees ...

Ancient oil painting on canvas depicting the symposium of the Gods. This important seventeenth-century painting refers to the exquisite ...

17th century, oil on canvas Dutch painting with hunting scene Oil on canvas. Dimensions: frame W 81 x H 75 cm, canvas 58 x 49 cm The oil on canvas painting depicts a hunting scene in a predominantly rocky landscape. On the right, at the center of the canvas is depicted a group of characters dressed for hunting according to the 17th century fashion of northern Europe. The men stop with their horses and dogs; one of them points downstream, while another one sounds a Horn, used as a call sign in hunting trips. In the foreground on the left another character sits on the ground, turning his back on the observer, in the company of two hunting dogs. The scene takes place in the open air, in a rocky context and the landscape widens towards a valley, beyond which the horizon is lost among mountain reliefs with blue tones. The bright sky is characterized by some clear clouds. The color palette of the canvas is characterized by brown tones; a ray of light that emphasizes the right group, where it stands out illuminated a dog and the spotted steed on which is rising a man with a red mantel...

Italian old master painting, 17th century, oil on canvas. Good condition Measures: H. 54 W. 43 cm H. 21.2 W. 16.9 in.

Important ancient oil painting on canvas of Bolognese school second half 17th century. The scene is very complex and animated. The subject is mythological Juno announces the arrival ...

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...