17th Century Oil on Canvas Italian Painting Virgin with Child and Saint John

Italian painting oil on canvas, 20th century framework depicting landscape of good pictorial quality. Work signed and dated lower right (Bonaccorsi '84). Golden wooden frame with pas...

Italian painting from the middle of the 20th century. Framework oil on canvas depicting a seascape with fishermen and boats of good pictorial quality. Painting of pleasant decor with ebonized guilloche...

Italian painting from the mid-20th century. Work oil on canvas (applied on board, see photo) depicting bucolic landscape with characters and city in the background of good pictorial ...

Italian painting from 20th century. Oil painting on canvas, in the first canvas, depicting Impressionist style landscape of good pictorial quality. Frame in silvered metal and wood c...

Magnificent Italian 17th century Portrait of Virgin Mary measures 52 x 68 cm without the frame. The colors are stunning and the paintin...

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...

17th century Virgin of the Assumption Oil on canvas, 93 x 81 cm Frame, 110 x 97 cm The present Assumption of the Virgin welcomes an innova...

17th Century oil on canvas Josiah Childs attributed to John Riley 138 x 116cms In original frame