18th Century The Sacrifice of Iphigenia Roma School Painting Oil on Canvas

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

18th Century Italian School Daniel in the lion's den Oil on canvas, 119 x 178 cm Framed, 125.5 x 185 cm Signed and dated I.B.P. 1773 A ubiquitous prophet in the Old Testament, D...

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...

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

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...

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...

Antique Italian painting from the 18th century. Artwork oil on canvas depicting a religious subject, The sacrifice, of good pictorial quality. Painting of good size and pleasant furn...

Painting with probably biblical Italian school characters End of the 17th beginning of the 18th century unsigned carrying a Carlo Maratta cartouche of in...

European School oil on panel of the 18th century Measures: 34X24CM Good condition.

18th century framed oil painting on canvas by Holland School is a panoramic landscape with prominent contrasting features, rendered in the Dutch style. The foreground is divided into...

Oil on canvas depicting the sacrifice of Iphigenia, daughter of Agamemnon and Clytemnestra, sister of Orestes, Electra and Chrysothemis, and therefore subject to the curse of the Atreides. When Agamemnon attempts to launch the Greek fleet at Aulis towards the Trojan coast, the winds remain unfavorable. Calchas asserts that only the sacrifice of Iphigenia will appease the wrath of Artemis, and according to legend, raise the winds for the Greek fleet. Anton Kern or Körne (12 December 1709 - 8 June 1747) was a Bohemian-born painter; primarily of religious and historical scenes.Kern was born in Děčín, where his father Johannes was the town clerk. He was brought by his father to Dresden, where his artistic talents first came to the attention of Laurentio di Rossi, an artist of Venetian origin who was serving as a court painter in Saxony, while Kern was attending the Jesuit school in Bohosudov.[1] Rossi was sufficiently impressed to take him to his studio in Dresden and give him lessons. In 1723, Rossi took him to Italy and secured him an apprenticeship with Giambattista Pittoni. He remained with Pittoni for seven years, although he also took lessons at various public and private schools.[1] He returned to Bohemia in 1731, accompanied by Laurentio's brother, Ventura. Four years later, he was officially registered as a "Pictor" at the Faculty of Arts, Charles University in Prague. Between 1734-1738 he worked in Prague and in the north Bohemia. His most important works of this period are: two altarpieces with Saint Apollonia and Saint Agata for Loretto church in Prague, Saint Norbert for Strahov monastery, Saint John at Pathmos for Cistercian abbey church in Osek (Teplice Disctrict) and an enthroned Virgin...

Adoration of the Shepherds, French School. Oil on canvas, 18th Century. Framed.