Early 18th Century Oil Painting on Canvas

Beautiful antique Italian oil painting on canvas. Excellent pictorial quality great attention to detail. Italian school of the 18th century. Not signed. A beautiful religious painting Saint Francesco...

We are pleased to present this captivating religious painting of the Italian school, painted in oil on canvas in the 18th century. This wonderful painting depicting the Madonna in pr...

We present this fantastic 19th century oil on canvas painting. The painting features the initials NP at the bottom left (see photo). Attributable to the Italian painter Nicola Palizzi...

We present this splendid oil painting on canvas of the English school, 19th century. The painting has a signature on the lower left but the artist has not been identified and the pai...

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

Original oil on canvas laid on panel painting, Italian school. Unsigned. Possibly a religious composition with three putti in lower left. Condition: Age related craquelure, some abra...

Italian painting, oil on canvas, 18th century

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...