18th Century Antique Oil on Canvas Italian Painting Virgin with Child, 1720

Antique Italian painting from the 17th century. Oil on canvas artwork depicting a wonderful Holy Family. Painting of remarkable pictorial quality, particularly evident in the masterf...

A magnificent altarpiece from the second half of the 17th century. Painting oil on canvas depicts a splendid Madonna with Child among cherubs, a widespread iconographic theme in Ital...

A rare 16th-century Italian painting. An oil on panel painting depicting a refined Madonna with Child, this artwork is of extraordinary pictorial quality. The most popular iconograph...

Great Italian painting from the second half of the 16th century. Oil on canvas painting depicting a Holy Family from the Tuscan school of remarkable pictorial quality. We find the typical stylistic features of the Renaissance with a wonderful pyramidal composition, a refined chromatic palette and particular attention to the drapery. In the center is the Madonna with the baby Jesus in her arms who reaches out toward Saint John the Baptist with a lamb at his side, a symbol of Christ's sacrifice. At the top left we see Saint Joseph sleeping...

A Early 20th Century Italian old master style painting of Madonna and Child. The painting has been cleaned, restreached and relined and has an early frame that may or may not be ori...

We present you this magnificent oil painting on canvas endearingly the Virgin Mary gently caressing the head of Christ Child asleep on his Mother's lap. This artwork has been expertly fit with new canvas and encased in an exquisite gilded wooden frame. It is representative of the Tuscan School...

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...

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...