1848 Madonna Adoring The Sleeping Child Painting Oil on Canvas by Adele Pinot

Giovanni Giacomo Figari (Desenzano del Garda, 1739-1809) Madonna and Child adored by San Francesco di Paola and San Gregorio Magno (About 1765) (2) Oil on panel, 41 x 22.5 - with frame 46.7 x 27.5 x 3.2 cm Expertise Prof. Sava The softly collected and intimate dimension suggested by the present pair of paintings underlines, together with the saints appearing in adoration, the totally private dimension of the order. The saints chosen at the feet of the Madonna and Child are in fact Francesco di Paola and Gregorio Magno, immediately recognizable by the wise features, by the Franciscan habit and by the crosier supported by a putto, the other by the triple crown placed on the ground as a sign of respect. Most likely made as ex votos, as a tribute to the patrons or as preparatory models for two altarpieces, if the saints were to reflect their names, the paintings are offered for specular and meditated composition. An inflamed colorism lights up the veils of the Madonna, enhancing their prominent position with respect to the saint in her presence, and warming the remaining part of the composition with sweet intimacy. The compositional balance, the quality of the drawing and the plastic consistency of the drapery allow the painter's hand to be brought closer to the sphere of Giambettino Cignaroli (1706-1770), a Venetian painter, working in different cities in northern Italy. He was influenced by Ludovico Dorigny, Antonio Balestra...

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...

School of Titian, (Pieve di Cadore, 1488/1490 - Venice, 1576) Madonna with Child and San Giovannino Oil on canvas, 105 x 78 cm The work under consideration depicts a half-figure o...

16th century, by Raffaello Sanzio (Urbino, 1483 - Rome, 1520) Madonna of the Carnations Measures: Oil on canvas 38 x 30 - with frame 59 x 52.5 cm The Madonna dei Garofani made b...

17th century Madonna of the milk Oil on panel, 27 x 20 cm - with frame 32.5 x 26 cm The subject of the work in question is particularly fascinating for its sweetness and refinem...

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...

A great angelic oil painting depicting an angel sheltering a sleeping child from a snake. Oil painting on canvas with vigorous pastel colors. Framed wit...

This is a Antique Christian paintings Artwork, portraits of the Madonna and Child Jesus placing a crown of flowers on her head, mid 19th century. From the 19th century. The Virgin Mary is also holding a flower, a Lily, which is a symbol of nobility, candour and purity. This is an Antique Oil Painting on Canvas from the 19th century.  Catholic religious...

Early religious work of art, presented in the original antique frame. This beautiful and uplifting portrait of Saint Joseph holding hands with the child Jesus is an oil on canvas an...

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...

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 painting of the Venetian school from the second half of the 16th century. Oil on canvas artwork depicting the Madonna and Child with Saints, of excellent pictorial quality. W...