Théophile Soyer - Madonna Painting on Copper

Giovanni Antonio Raggi (Italian, late 19th century) Scene depicting and hookah smoker. Watercolor and gouache on paper. sight: 14 by 20 ¾ inches Frame: 23 by 30 inches

Henry Thomson R.A. (English, 1773-1843) A fancy picture “Cottage Children", circa 1810. See the rendition by Thomson’s contemporary at the Academy Wi...

A chinoiserie eglomise and decoupage five part glass panel in gilt frame, English, 19th century. 40 inches wide by 30 inches tall

Jean Paul Sinibaldi (French, 1857-1909) An oil on canvas of a Parisian artist in his studio with woman in Japonisme fashion, circa 1885. Sinibaldi studied at École des Beaux-Ar...

After Raphael's Grand Duke's Madonna Grand Duke's Madonna after Raphael, a stunning 19th-century oil painting from the renowned Berkley Collection. This remarkable artwork, inspire...

This is a beautiful oil on canvas painting after Raphael, depicting the Madonna and Child in the original giltwood Florentine frame, Circa 1880 in date. It bears a label to the reve...

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...

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...