18th Century Oil on Canvas Italian Antique Religious Painting Madonna with Child

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 Italian painting from the late 18th century. Virgin with child in Byzantine style of great character and good pictorial hand. Oil painting on canvas with wooden frame not coe...

Antique Italian painting from the 18th century. Oval work oil on canvas depicting a religious subject Madonna with child of good pictorial quality. Contemporary carved and gilded woo...

Antique Italian painting from the 18th century. Work oil on canvas depicting a religious subject Moses Drawing Water from the Rock of a good pictorial quality. Painting of great meas...

Antique Italian painting from the 17th century. Framework oil on canvas depicting a religious subject Madonna of good pictorial quality. Beautifully sized and pleasantly furnished fr...

Veneto, Italy, early 18th century Oil on canvas 20th century frame carved and gilded in pure gold Dimensions: cm W 93 x H 78,5 x D 5.

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...

A very fine Italian 18th century oil on canvas "Madonna and Child" after Giovanni Lanfranco (Italian, 1582-1647). The young Virgin Mary attending to...

Painting, oil on canvas depicting the Madonna with child from the 18th century, painting of excellent pictorial quality. Nice Size painting and very good proportions. Pleasantly brig...

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...

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...