Antique 17th Century Madonna with Child, Rome Carlo Maratta Oil on Canvas

This antique stunning portrait of Madonna in Sorrow came out from a Palazzo in Florence and an absolute eye catcher. The colors and details are incredible and very typical for an Ita...

This is an absolutely incredible early 17th century oil on canvas painting representing Holy Family-Virgin Mary, St.Joseph, St. Elisabeth, John the Baptist and Baby Jesus. Sir Peter ...

This is a magnificent example of an Art Deco version of Madonna’s Immaculate Conception painted in ca 1920s Era in Vienna. Masterfully done, the painting has very dramatic bright Color scheme-typical for this period. It is definitely a great fit and a conversation piece for any kind of home, either contemporary, traditional or modern. The Painting is set in a dramatic large heavy 19th century gold gilded frame...

The beautiful and intriguing 19th century portrait of John the Baptist, oil on wood, in style of Francisco Goya, signed lower left by French painter Saint Cyr Anduze. The painting i...

A Early 20th Century Italian old master style painting of Madonna and Child. The painting has been cleaned, restreached and relined and has an early frame that may or may not be ori...

We present you this magnificent oil painting on canvas endearingly the Virgin Mary gently caressing the head of Christ Child asleep on his Mother's lap. This artwork has been expertly fit with new canvas and encased in an exquisite gilded wooden frame. It is representative of the Tuscan School...

Antique Italian painting from the first half of the 18th century. Framework oil on canvas depicting a religious subject Virgin with child of excellent pictorial quality. Non coeval f...

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...