Italian Paintings

Ludovico Trevisan (November 1401 Venice, Italy - 22nd of March 1465) was an Italian Catholic prelate, who was the Camerlengo of the Holy Roman Church, Patriarch of Aquileia and Capta...

Venetian school of the 17th century. Great oil on canvas artwork depicting a biblical episode, the sacrifice of Isaac. To test the faith of Abraham, a just and devout man, God orders...

Eduardo DalBono, Portrait of a Lady Painting En Plein Aire, 1880's. Watercolour on card paper of a lady dressed in white in an artist’s folding chair seated with sketchbook and brush viewing the landscape, possibly seaside with soft brown dunes in the background and blue and green brush foliage in the foreground. An elegant subject softly rendered in original gilt carved floral frui frame. Eduardo DalBono was a Neapolitan pupil of Nicola Palizzi...

Antique Italian painting from the 17th century. Oil on canvas artwork depicting a wonderful Holy Family. Painting of remarkable pictorial quality, particularly evident in the masterf...

17th century Virgin of the Assumption Oil on canvas, 93 x 81 cm Frame, 110 x 97 cm The present Assumption of the Virgin welcomes an innova...

Gennaro Villani (1885-1948) Amalfi Coast, oil on canvas in painted and gilt frame, signed lower left. Italy, circa 1920. Dimensions: 27" W x 23" H x 1.25" D; sight 24.5" W x 21" H.

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...

Charming pair of Italian oil paintings on canvas of two palm trees on an aged cream colored background with the artist monkey logo and pa...

Amazing Tiziano Vecellio's Circle of the 17th century "Ecce Homo" Oil on canvas, 17th century, based on the original housed in the Kunsthistorisches Museum, Vienna. Dimensions: 1...

"Saint Sebastian" by Carlo Saraceni 19th Century Italian School with Video Oil painting on canvas, Italian school, 19th century, depicting Saint Sebastian in the style of Carlo Sara...

Nicola Simbari, Italian painter of semi-abstract impressionist works known for using colors and favoring brilliant tones, especially with a palette knife. Considered by many to be It...

This Pop-Surrealist digital painting depicts a woman being tempted by a serpent in the Garden of Eden. Instead of an apple, she is holding a broken heart in her hands. The female figure stand out against a lush background of exotic foliage and flowers. Part of a signed, numbered Limited Edition. "Certificate of Authenticity" include. Basswood box frame. Year of Creation: 2015 Edition Number: 1/300 Artist’s Signature: Printed on the Canvas + original signature on Limited Edition Certificate...

Acrylic painting with Leopard. Hand painted in Italy. In the set of gold wood frame. Very nice decoration for every interior. Only one unique piece.

This set of four antique hand painted pottery tiles are all unsigned, so no specific artist can be identified, but are presumed to have be...

A gorgeous Grand Tour style framed oil painting of an Italian Capriccio landscape with ruins Italy, Mid-20th Century Oil on canvas, gilt frame Measures: 9.5"W x 1"D x 9.5"H. Exce...

Pair of circa 1920's Italian still life paintings. Measurements: Height: 50.25" Width: 26.25" Depth: 1.5"

A late XVII Century Italian School head of a young man (Circle of Guido Reni). A sensitively rendered portrait figure in profile, echoing soft modelling and restrained elegance chara...

A Marvelous 19th Century Italian Oil on Canvas titled "The Cardinal's Present" by Arturo Ricci. This oil on canvas is truly incredible and one of Ricci's best works of art. The sce...

A 17th Century baroque painting of a sideview of Jesus Christ Salvator Mundi or Saviour of the World in sfumato Saint Savior of the World, a title given to Christ on the Catholic f...

Giuseppe Augusto Levis (1873-1926), this painting from 1912 depicting a simple A-frame tent with spikes in a desert background near dusk, in a period guilloche frame with a gilded ra...

Beautiful oil painting on canvas, made on the first canvas and framed with a contemporary rectangular frame in carved and gilded wood. The painting represents a striking image of the...

18th century, Italian oil on canvas still life by Pietro Navarra Oil on canvas, canvas measures: cm H 103 x W 164, framed measures...

Striking original oil on canvas painting of Madonna and child with the infant Saint John the Baptist. Unsigned. After the original by Guercino (Giovanni Francesco Barbieri) dated ca....

Beautifully painted, probably in the 19th or early 20th centuries, this copy of the famed "Le Transport du Christ au Tombeau" painting by Titian (Tiziano) in the collection of the Louvre in Paris, was recently found in the attic of a Hudson Valley monastery. The Louvre original, considered an early painting by the master, dates to the same period as his famous "Pastoral Concert" and shows the strong influence of Gorgione. This scene depicts the collaborative efforts of Joseph of Arimathea, Saint John and Nicodemus as they moved Christ's body from the cross to his tomb, watched by the two grieving Marys -- his mother and Mary Magdalene. It is not known who painted this copy, though of course artists over the years have copied the great Master paintings...

An Italian Rococo period framed still-life oil on canvas painting from the late 18th century, depicting a colorful bouquet. Created in Italy during the third quarter of the 18th cent...

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 ...

Finely painted in an Italian palette with mythological and Roman battle scenes, each border rim painted with yellow enamel. With a large carved ebony...

Antique Religious Oil Painting, Antique Religious Icon, Antique Gothic Revival Religious Painting, Antique Gothic Revival Cabinet, Reli...

Francesco Chiarottini (1748-1796) Roman Architectural Capriccio Oil on glass, cm 52 x 67 without frame, 63.5 x 79cm with frame The valuable painting, attributed to the Italian p...

Very early Italian School Madonna and Child, Italian Baroque oil on board painting. Professionally restored. The careful removal of accumulated dirt and age-related damage, followed ...

Traditional oil on canvas by Giuseppe Pitto depicting a beautiful young woman in a street market; she stands out from the scene since the background, the buildings, villagers, and st...

In the foreground, a lake surrounded by vegetation. On the left bank, several figures, some in a boat. In the background, a building that resembles a fortified castle, in a hilly lan...

18th Century, Italian Pair of Paintings on Glass in Giltwood Frames This exquisite pair of paintings executed on glass is presented within finely carved and gilded wooden mirrors da...

Italian Reverse-Painted Glass Wall Plaque, signed “Pachini” Italy, mid–late 20th century Rectangular decorative plaque in polished flat glass, reverse-painted with enamel and metall...

An outstanding and grand scale oil on canvas painting of a nude male. Entitled "La Vittoria Della Verita' Sull'Insidia" - "The Victory Of Truth Over The Trap"..... Expertly executed ...

A Fine Italian 19th Century Oil Painting on Canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520). The circular painted canvas depicting a seated Madonna holding an infant Jesus Christ next to a child Saint John the Baptist, all within a massive carved two-tone gilt wood, gilt-patinated and gesso frame, which is identical to the frame on Raphael's original artwork. This painting is a 19th Century copy of Raphael's Madonna della Seggiola painted in 1514 and currently exhibited and part of the permanent collection at the Palazzo Pitti, Galleria Palatina, Florence, Italy. The bodies of the Virgin, Christ, and the boy Baptist fill the whole picture. The tender, natural looking embrace of the Mother and Child, and the harmonious grouping of the figures in the round, have made this one of Raphael's most popular Madonnas. The isolated chair leg is reminiscent of papal furniture, which has led to the assumption that Leo X himself commissioned the painting. Circa: 1890-1900. Subject: Religious painting Painting diameter: 28 inches (71.1 cm) Frame height: 55 1/8 inches (140 cm) Frame width: 46 inches (116.8 cm) Frame depth: 5 1/8 inches (13 cm) Raffaello Sanzio da Urbino (Italian, March 28 or April 6, 1483 - April 6, 1520), known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving a large body of work. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two Popes and their close associates. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region, where his father Giovanni Santi was court painter to the Duke. The reputation of the court had been established by Federico III da Montefeltro, a highly successful condottiere who had been created Duke of Urbino by the Pope - Urbino formed part of the Papal States - and who died the year before Raphael was born. The emphasis of Federico's court was rather more literary than artistic, but Giovanni Santi was a poet of sorts as well as a painter, and had written a rhymed chronicle of the life of Federico, and both wrote the texts and produced the decor for masque-like court entertainments. His poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very small court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Federico was succeeded by his son Guidobaldo da Montefeltro, who married Elisabetta Gonzaga, daughter of the ruler of Mantua, the most brilliant of the smaller Italian courts for both music and the visual arts. Under them, the court continued as a centre for literary culture. Growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Court life in Urbino at just after this period was to become set as the model of the virtues of the Italian humanist court through Baldassare Castiglione's depiction of it in his classic work The Book of the Courtier, published in 1528. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, and they became good friends. He became close to other regular visitors to the court: Pietro Bibbiena and Pietro Bembo, both later cardinals, were already becoming well known as writers, and would be in Rome during Raphael's period there. Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a full humanistic education however; it is unclear how easily he read Latin. Early Life and Works His mother Màgia died in 1491 when Raphael was eight, followed on August 1, 1494 by his father, who had already remarried. Raphael was thus orphaned at eleven; his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master. He had already shown talent, according to Vasari, who says that Raphael had been "a great help to his father". A self-portrait drawing from his teenage years shows his precocity. His father's workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter (d. 1475), and Luca Signorelli, who until 1498 was based in nearby Città di Castello. According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice "despite the tears of his mother". The evidence of an apprenticeship comes only from Vasari and another source, and has been disputed—eight was very early for an apprenticeship to begin. An alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495.Most modern historians agree that Raphael at least worked as an assistant to Perugino from around 1500; the influence of Perugino on Raphael's early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master's teaching as Raphael did", according to Wölfflin. Vasari wrote that it was impossible to distinguish between their hands at this period, but many modern art historians claim to do better and detect his hand in specific areas of works by Perugino or his workshop. Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, but very thinly on flesh areas. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters. The Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a "master", that is to say fully trained, in December 1500. His first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was also named in the commission. It was commissioned in 1500 and finished in 1501; now only some cut sections and a preparatory drawing remain. In the following years he painted works for other churches there, including the Mond Crucifixion (about 1503) and the Brera Wedding of the Virgin (1504), and for Perugia, such as the Oddi Altarpiece. He very probably also visited Florence in this period. These are large works, some in fresco, where Raphael confidently marshals his compositions in the somewhat static style of Perugino. He also painted many small and exquisite cabinet paintings in these years, probably mostly for the connoisseurs in the Urbino court, like the Three Graces and St. Michael, and he began to paint Madonnas and portraits. In 1502 he went to Siena at the invitation of another pupil of Perugino, Pinturicchio, "being a friend of Raphael and knowing him to be a draughtsman of the highest quality" to help with the cartoons, and very likely the designs, for a fresco series in the Piccolomini Library in Siena Cathedral. He was evidently already much in demand even at this early stage in his career. Influence of Florence Raphael led a "nomadic" life, working in various centres in Northern Italy, but spent a good deal of time in Florence, perhaps from about 1504. Although there is traditional reference to a "Florentine period...

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...

1930s Italian Signed Still Life Painting Still life with cactus Oil on canvas signed Piccari. On the back the artist's address Via Maddalena 2 Rom...

Great Italian painting dated 1940. Oil on board framework depicting a woodland landscape in impressionist style with good pictorial quality. Frame in wood and plaster, adapted to the...

Lovely 18th century Italian painted panel featuring chinoiserie images. Vibrant colors of blue, pink, green and gold. Such an interesting piece ...

Grand scale mid-18th Century Italian classical oil on canvas landscape painting. In a substantial period 18th Century Flemish hand carved ripple frame. The painting has been professi...

Ada Pratella (1901-1929) Houses at Capri, oil on canvas in gold frame, signed lower left. Italy, circa 1920 Dimensions: 17" W x 14.5" H x 1.88" D; sight 12.5" W x 10.25"H.

Oil painting on canvas depicting a motherhood, created by Remo Brindisi in the 1970s. Motherhood original painting by the artist are now rare to be found, especially of this size. ...

A gorgeous Grand Tour or Neoclassical style framed oil painting of an Italian Capriccio landscape with ruins Italy, Late 19th Century Oil on board, gilt frame Measures: 10.25"W x ...

This Italian tempera painted on gilt wood gold ground panel is a Tuscan religious artwork in the style of late Renaissance - early Gothic period. The sc...

One of six fun vintage study for an Italian Classic Garden Fountain. Probably some scenographic preparation. Really pleasant scenery and nice vivid color on the blue and white scale,...

In the style or School of the Important Old Master Guido Reni (Italian, 1575-1642). A stunning Old Master 18th or possibly 17th century Italian Baroque School religious portrait painting...

Antonio Alegri, (Correggio - 1494-1534) Our Lady with the Child Jesus oil on copper, Italian School 16th century With inscription on the back '1494-1534...

Hand-painted in Florence, Italy, this fantastic oval wooden wall panel features a large urn with a scrolled handle. The urn is adorned with a fluted...

The Barber of Seville By Luis Alvarez Catalá Executed in oil on canvas, housed in a giltwood frame, the painting depicting an 18th century domesti...

A beautiful Italian 19th century oil on canvas painting. The painting depicts a beautiful Italian scene of personages going about their day with charming boats and a house on the wat...

Inspired by the poetry of Charles Baudelaire, this digital painting is based off a photograph of a famous German dancer from the early 20th century. In the foreground, poppy buds evoke a drug-induced state of altered consciousness, amplified by the dreamlike atmosphere of the background. A robin emerges from the woman's chest, symbolizing her obsession. Signed, numbered Limited Edition. Year of Creation: 2015 Edition Number: 1/300 Artist’s Signature: Printed on the Canvas + original signature on Limited Edition Certificate...

Silvio Poma Landscape With Shepherds oil on canvas painting depicting a dirt road in the middle of a tree-lined countryside with farmers grazing a flock of sheep. On the left side of...

Antique old world setting depicting cavaliers in the foreground with Roman columns. The background with a body of water and a mountain range in the b...

Painting texturised scagliola artwork handmade in Italy by Cupioli available. Decorative wall panel handmade by the artist manufactured using the scagliola technique. Tha Coloured A...

Decorate a living room, bedroom or den with this elegant pair of colorful parrot paintings! Crafted in Italy circa 1960, each hand painted canvas is set in a carved arched and scallo...

Gino Gregori was born in Milan, Italy, in 1906, the grandson of the painter Martin Kroller. He won several awards including the Antonio Award in 1931, the Arte Sacra prize in 1932 an...

An elegant and finely detailed pair of Italian late 18th century Gouache and Silvered Wood paintings, in the manner of Michelangelo Maestri. Each truly stunning painting of maidens playing musical instruments is framed within a Silvered wood rectangular frame. Both Gouaches depict nude maidens with cloud like garments gently wrapped around their body. One maiden is adorned in beautiful pearl jewelry...

Gustavo Simoni (Italian, 1845-1926) A Watercolor of An “Orientalist Dancer” Signed and dated G. Simoni, Roma 1890. Watercolor on paperboard. Gustavo Sim...

A almost life size depiction of a human skeleton holding a length of chain, with a banner at the base. We believe the piece to be Italian from the language used within the banner, ...