18th Century Christ and the Samaritan at the Well Painting Oil on Canvas

Roman school of the 17th century Landscape with bridge - Christ and the Samaritan woman at the well Oil on canvas, cm 42 x 59,5 - With frame, cm 54, 5 x 71 cm The small canvas portrays a broad view of the city surrounded by a bucolic and lush landscape, probably a reinterpretation of the Roman countryside or the Agro. The fulcrum of the canvas is the bridge consisting of several bays beyond which stands a village. In the distance the landscape made of green mountains opens into what looks like a lake crossed by boats. The landscape is animated by the human presence; not only small and fleeting figurines intent on walking along earthy paths but also the representation, in the foreground, of an Gospel episode, that of Christ and the Samaritan woman at the well. The landscape can be clearly traced back to a painter trained on the examples of the great seventeenth-century Roman baroque landscape that sees in the Lunette Aldobrandini by Annibale Carracci but also in Claude Lorrain, Nicolas Poussin and Gaspar Doghet are its greatest achievers. If in the past, therefore, the landscape was considered the scenic background on which to project the representation of divine or human characters, in the seventeenth century it became an autonomous and codified pictorial genre. With Carracci comes the so-called ideal landscape: a mental reconstruction of a peaceful and harmonious nature in which the dream of a perfect communion with man is realized. In the wake of Hannibal, as mentioned, during the seventeenth century the "classic" Roman landscape knows a long and happy season by artists such as Domenichino, and the French Claude Lorrain, Nicolas Poussin and Gaspar Dughet. Lorrain investigates the Roman countryside in all its aspects, studying the variations in the different hours of the day, the seasons or weather conditions, but always nourished by a sense of bucolic Virgilian. With Poussin the approach becomes intellectual elaboration and sophisticated rational construction. From the examples of the great masters, the Roman Baroque season, from the middle of the century, saw the flourishing of several personalities who, with shots, but also important personal reworkings, led to further spread the genre. Among the personalities that can be compared to the work in question we cannot fail to mention Crescenzio Onofri (1634-1714), defined by Salerno as the only true pupil of Dughet, who then spread in Florence the taste of the Baroque landscape influencing Tuscan painters such as Panfi and Peruzzini. His paintings are in various Roman collections; such as, for example, the landscapes from the Sacchetti Collection and today at the Pinacoteca Capitolina. and those in the Almagià collection in Rome, others in the Palazzo di Montecitorio, but the most conspicuous group is in the Galleria Doria. In comparison we can mention the two passages of the National Gallery in London, the landscape with a bridge over the Antiquarian Market but also the design of the National Gallery of Art in Washington. In the work you can also find the influences of the art of Giovanni Francesco Grimaldi...

XVIII century St. Francis receives the stigmata Oil on canvas, 97 x 75.5 cm.

17th century Christ in chains Oil on canvas, 95 x 71 cm Frame 110 x 84 cm The figurative tradition representing Christ with chained hands can be traced back to the early Middle Ages, when an iconography of His pains spread widely. The need to translate the Passion into images aimed to raise awareness of the forgiveness that has occurred for all men, consequent to the Crucifixion. This painting depicts the moment before the audience before Pilate. Christ has not yet been cruelly mocked by the soldiers, despite the fact that he is already wearing the crown of thorns and the purple...

Venetian school, 18th century Study with the head of a cherub Measures: Oil on canvas, 45.5 x 41 cm - with frame 54.5 x 49.5 cm The present qualifies as a study or preparatory sketch by virtue of the structural and figural layout; by reason of formal and substantial evidence, it can be traced back to the mature neo-Venetian style, which in the eighteenth century had begun to produce figurations of extreme typological pathetism and formal expressionism. The contemporary painting experience of Tiepolo commanded the Venetian art scene, once the lesson of Pier Francesco Mola (1612-1666) was overruled. The delicate putto head offered here, in which a cherub is recognizable due to the happy iconographic solution of the wings placed under the angel's face, is outlined with a vigorous vitalism. A foreshortened point of view illuminates his face in a grazing way, probing his features with strong shadows and with a youthful blush that orange his cheeks. The veristic perfection with which the artist arranges the semblant is of marvelous expressiveness. The eyes are swollen with intensity, and together with the general setting of the head they denounce a conscious reflection on the physiognomy, peculiar within the emerging context of Venetian painting. The painting in question is affected by the large-scale productions, both monumental and perspective, at the time in vogue in the territory of the Serenissima. Conceived through a vision from below, the portrait reveals from the Venetian Rococo that particular predilection for the open and clear, airy ways, denounced in the first instance by Tiepolo. The conscious detachment from the Cortona-style decorativism and from the repeated layout solutions then in vogue allow us to approach the present to the production of Francesco Fontebasso...

Roman school, 18th century The Sacrifice of Iphigenia Oil on canvas, Measures: 50 x 64.5 cm The canvas depicts The Sacrifice of Iphigenia, a theme reported by numerous sources, including the Greek tragedies Iphigenia in Aulis by Euripides and Agamemnon by Aeschylus, as well as in Ovid's Metamorphoses. The myth tells how the Greeks, under the command of Agamemnon, gathered at the city of Aulis, in Boeotia, from which they then set sail for Troy. The persistent calm of the winds, however, prevents the Greek ships...

Attributed to Giacomo Ceruti (Milan, 1698-1767) Portrait of Felice Paganoni Oil on canvas, 98.5 x 73 cm With frame, 109 x 85 x 4 cm "Felice Pag...

Ancient Italian painting from the 18th century. Framework oil on canvas depicting biblical subject Joseph at the well sold by the brothers of good pictorial quality. Oval painting wi...

Antique Spanish painting from the 18th century. Artwork oil on canvas depicting a religious subject, Adoration of Saints with Christ and the Virgin Mary, of good pictorial quality. T...

An impressive and large scale Continental 18th century oil on canvas painting. The painting is framed within a fine walnut frame with a carved...

Framed oil on canvas Spanish school "Romance at the Well" indistinctly Signed "M[..]llu" and dated, 19th century. Exquisite gold leaf frame.

An 18th century oil on canvas with its period giltwood frame. Measures: Painting - H: 40 cm, W: 31 cm Frame - H: 58 cm, W: 49 cm, D: 5 cm.

Francesco Maria Raineri, known as Schivenoglia (Schivenoglia, Mantua 1678-1758) Esther and Ahasuerus oil painting on canvas Size: 52x137 cm Work exhibited during the exhibition dedicated to the homonymous painter: “Francesco Maria Raineri - Lo Schivenoglia 1676-1758, works from private collections” and published in the catalogue, page 13. Esther is the daughter of Abicàil of the tribe of...