Pierre Gaston Rigaud Oil on Canvas Painting "Arbres" Trees French School Antique

Painting Oil on Canvas Haystack Harvest Landscape & Light & Color Antiques LA CA. A very nice tableau of Haystack Harvest scene by Alexandre Alexandrovich, circa 1910, 20th century. ...

17th C Neapolitan School Painting Oil Canvas Old Master Mola Giovanni Battista . Circa 1600’s important Painting Oil on Canvas painting of a boy with a bird, in original Hand carved...

Winter Landscape Snow Scene Country Road Painting Oil on Canvas Framed Argnegger . Late 19th-early 20th century winter landscape / snow scene, by...

Harald Pryhn Winter Snow Scene Country Road Danish Painting Oil on Canvas Framed. Very Large Artwork , Winter Landscape Snow Scene Signed oil on Canvas – Harald Julius Niels Pryn Dan...

American painting, Hudson river school, Oil on canvas.

Indian school of the mid-20th century. "Musicians". Oil on canvas. With perforation. Size: 174 x 110 cm; 150 x 112.5 cm (frame). Formally, the piece follows the language of Indi...

Artist Charles Ventrillon-Horber (1899-1977) has created a beautiful Madonna scene of a mother and child, with a beautiful floral background, circa 1930s, with original gold leaf frame.

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...