17th Century Oil on Copper Italian Painting Madonna of the Basket, 1670

Venetian school of the 17th century. Great oil on canvas artwork depicting a biblical episode, the sacrifice of Isaac. To test the faith of Abraham, a just and devout man, God orders...

Antique Italian painting from the late 17th century. Oil on canvas artwork depicting a religious subject, Saint Jerome, of good pictorial quality. A painting of good size and great i...

Italian painting, 20th century. Oil painting on cardboard depicting a wooded landscape with architectural elements on the background of good pictorial quality. Wooden frame with passe-partout and beautifully decorated protective glass. Small size painting...

Italian painting from 20th century. Oil painting on Masonite depicting the Lombard countryside in Impressionist style of good pictorial hand. Framework of good size and pleasant deco...

Oil On Copper, 17th Century ELEGANT OIL ON COPPER REPRESENTING THE VIRGIN MARY SPANISH SCHOOL OF THE 17TH CENTURY VERY WELL PRESERVED CONDITION GILT WOOD FR...

17th Century, Italian Oil on Panel Painting Depicting Madonna della Purità The painting, executed in oil on a circular wooden panel and presented in an imposing carved and gilded wo...

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...