18th Century Oil on Canvas Antique Italian Cherubs Painting, 1730

Antique Italian painting from 18th century. Framework oil on canvas, on the first canvas, depicting a view with characters, animals and ruins of good pictorial quality. Large size fr...

Antique French painting from 18th century. Oil painting on canvas, depicting landscape with ruins and characters of good pictorial quality. Wood and plaster frame of the 20th century...

Antique Italian painting from the 19th century. Artwork oil on canvas, on the first canvas, depicting a female portrait, a young girl in an elegant dress of good pictorial quality. C...

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 ...

SHIPPING POLICY: No additional costs will be added to this order. Shipping costs will be totally covered by the seller (customs duties included). An allegory of the love Omnia vincit amor...

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...

2.nd Half of the 18th cenutury, hand-colored The pictures are showing dance scenes based on Etrukian vase painting.

2nd Half of the 18th cenutury, hand-colored The pictures are showing dance scenes based on Etrukian vase painting.