18th Century Portrait of Felice Paganoni Painting Oil on Canvas

Circle of Antonio Amorosi (Comunanza, 1660 - Rome, 1738) Portrait of young people Oil on canvas, 87 x 67 cm The painting depicting this portrait was made by an artist activ...

Antonio Bertoli (active between 1829 - 1842) Portraits of women (2) Oil on canvas, 41.5 x 31 cm With frame 52 x 42.5 cm Signed below A. Bertoli The two portraits examined here are by the hand of the artist Antonio Bertoli, a painter active in Florence between 1829 - 1842. He trained at the Florentine Academy, where in 1832 he obtained the prize for the nude in drawing. At the academic exhibitions of the following years he exhibited mainly portraits, including a representation of Nicolò Macchiavelli executed in 1837. An eclectic artist, he experimented with different genres: for the Villa Puccini di Scornio in Pistoia, in 1838, he was commissioned to create a history picture, The death of Francesco Ferrucci (Pistoia, Civic Museum), inspired by an episode of the novel Siege of Florence by Francesco Domenico Guerrazzi. Instead, two religious paintings date back to the 1840s: Christ chasing the merchants from the Temple and a Virgin Mary, In the portraits analyzed Bertoli depicts two half-length women taken from a foreshortening and a frontal in close pose, characterized by very similar Mediterranean features. In the first painting the woman, taken from the front, looks directly at the viewer. The wavy hair is decorated with a colorful violet and is partially covered by a white veil...

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...

Painter active in Rome in the 18th-19th century. View of the temple of Minerva Medica Oil on canvas, 65 x 78 cm - with frame 71.5 x 85 cm The painting bears a traditional attribution to François Marius Granet (Aix-en-Provence, 1775 - 1849). The painter was a pupil of David but from 1802 to 1819 he lived in Rome, as evidenced by a series of paintings depicting views of the city and especially of the Roman countryside (Ponte San Rocco in Tivoli, 1810-20, MoMA, New York), and then return there between 1825 and 1830. In the Eternal City Granet devoted himself to landscape painting, inspired by the landscape painting of Gaspard Dughet and Van Lint...

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...

18th century, Piedmontese, School Scene with spinner Measures: Oil on canvas, 50 x 60 cm Frame 70 x 80 cm.

Beautiful antique oil painting on canvas portrait of a gentleman. Excellent pictorial quality great attention to detail. English school ...

18th century portrait of a gentleman oil on canvas.  

Beautiful antique oil painting on canvas portrait of a gentleman. Excellent pictorial quality great attention to detail. English school ...

Antique Italian painting from 18th century. Framework oil on canvas depicting a portrait of a girl with a goldfinch of good pictorial quality. Framework of good size and pleasant fur...

Beautiful oil painting on canvas depicting a landscape with figures and carriages. Veneto, 18th century. The background of the painting is dominated by a picturesque Venetian landsc...

A handsome oil on canvas of an Italian nobleman c 1770. His droll expression is complemented by his galant powdered wig and three-cornered hat tucked under his left shoulder. The fra...