18th Century St. Francis Receives the Stigmata Painting Oil on Canvas

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...

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...

Attr. to Pietro Fabris (active in Naples, 1756 - 1792) Convivial scene Oil on canvas, 63 X 75 cm The canvas in question depicts a joyful banquet scene with characters dressed in traditional clothes typical of southern Italy, similar to Pietro Fabris. Much biographical information is lacking on this painter who was active in Naples between 1756 and 1792. It is assumed that he was of English origin, since he himself in many paintings is signed, next to his name, "English painter". Also appreciated in England, Fabris in 1768 exhibited in London at the Free Society and in 1772 at the Society of Artist. His vast known artistic production must therefore be included between the date of 1756, affixed to a Neapolitan scene (London, Trafalgar Galleries: see Spinosa, 1987, p. 162), and that of 1792, execution of the Pilgrimage to the sanctuary of the Madonna dell 'Arco (antiques market, formerly Matthiesen, London, published in Spinosa, 1987, fig. 410). This production includes numerous oils on canvas, gouaches and drawings, inspired by Neapolitan views and landscapes and popular scenes, festivals and costumes of southern Italy. In the initial phase, references to Carlo Bonavia and Gabriele Ricciardelli are marked, later enriched by collusions with the scenographic landscape painting of Antonio Joli...

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

Antique French painting from the 18th century. Framework oil on canvas depicting a religious subject Saint Francis of good pictorial quality. Non-contemporary frame in wood and plast...

Ancient Italian painting from the first half of the 18th century. Oil on canvas framework depicting a religious subject Saint Francis of good pictorial quality. Wooden frame not Coev...

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

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.

Vintage (20th Century) unframed canvas oil painting of bustling 18th century life - figures, carriages and horses - unfolding before the Pantheon in Rome, capturing the building's Co...

Italian painting, oil on canvas, 18th century