19th Century French Oil on Canvas Allegoric Blue and White Painting with Cherub

This Italian 19th century oil on alabastrer painting depicts an opulent interior in full ancient neoclassical Pompeian style with people festing. The figurative inner scene is painted on a rectangular alabaster slab and housed in a wonderful giltbronze frame resting on casted arrow feet. This is a single section of a bigger surtout de table. You can now use it as a decorative centrepiece on a table or on a console or turn it into a wall decoration. We can provide framing options in this case. The characters enjoy a rich banquet in an elaborate interior, the room renderings...

This very fine quality 19th century oil on canvas in dark brown wood frame with gold leaves details throughout is signed by Joseph Brunner (Vienna 1826-...

This oil painting on canvas, created by an artist from the 17th Century Flemish School, depicts one of the most significant scenes from Greco-Roman mythology: Aeneas saving his famil...

This French early 20th Century folding screen is made up of four canvases entirely painted with textured tempera featuring a marine l...

Rococo paintings, circa 1900. Oil on canvas. (S-62).

A gorgeous 19th Century oil on canvas painting depicting a figural pastoral scene featuring a shepherd with his dog and flock of sheep within an exquisite mountain landscape with lus...

Stunning oil painting on canvas, probably created by a talented Florentine artist active in the 19th century. The work is clearly inspired by the famous painting by the famous painte...

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...