Ecce Homo, Circle Of Quentin Metsys (leuven, 1466 - Antwerp, 1530) - Galleria Castelbarco - Recent Added Items

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Ecce Homo, Circle Of Quentin Metsys (leuven, 1466 - Antwerp, 1530)

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Ecce Homo, Circle Of Quentin Metsys (leuven, 1466 - Antwerp, 1530)

5900 €


16th-century Flemish master Circle of Quentin Metsys (Leuven, 1466 - Antwerp, 1530) Ecce Homo oil on panel cm. 34 x 23 with frame 47 x 37 (not contemporary) An important painting on panel, depicting the intense face of the suffering Christ crowned with thorns, in the more traditional iconography of Ecce Homo, one of the most representative Christian depictions in Old Master painting, which Flemish painters have emerged from for intensity and dramatic realism. The painting in fact reveals typological and formal characteristics derived from the 16th century North European tradition, showing particular affinities with the works of the Flemish Quentin Massys (or Metsijs), founder of the Antwerp School and one of the greatest Flemish interpreters of this subject; We can mention among many works his Ecce Homo dating from 1516 and currently housed in the Musée des Beaux-Arts de Dunkerque (see details) * https://collections.musees-dunkerque.eu/fr/notice/ba-p-190-le-christ-cb75e188-ada2-41df-b588-77a0ed8... Musée des Beaux-Arts de Dunkerque Compared to this model, this work exhibits more robust workmanship and denser impastoes of colour, which in our opinion point towards a rather late 16th century date. Christ, whose figure emerges against a dark background, is depicted with his head framed by a luminous reflection, on which is placed the crown of intertwined thorns. His gaze is dull with his eyes half-closed, flushed, in a resigned attitude disfigured by pain, furrowed by tears and drops of blood. Important in this painting is the study of Christ's expression and gaze, with his eyes turned downwards, in sign of pain, dense with a phatos capable of conveying to the viewer the suffering of this episode of the Passion. Ecce Homo is the Gospel episode during which Jesus, awaiting his condemnation after the scourging, is presented to the people by Pontius Pilate, then the Roman governor of Judea. The expression literally means ‘Behold the Man’, and was the phrase uttered by Pilate to designate the suffering of Jesus scourged and crowned with thorns. The face suggests that the author undoubtedly carefully studied the works of other artists for physiognomy, i.e. the discipline that sought to study the character of people based on their physical appearance, and whether there was any relationship between appearance and character. ADDITIONAL INFORMATION: The work is sold complete with a wooden frame and comes with a certificate of authenticity and descriptive iconographic card. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. It is also possible to see the painting in the gallery in Riva del Garda, we will be happy to welcome you and show you our collection of works. In the case of purchase of the work by non-Italian customers, it will be necessary to obtain an export permit, which takes about 10/20 days; our gallery will take care of the whole phase until it is obtained. All costs of this operation are included. Contact us, without obligation, for any additional information. Follow us also on : INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco/

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The God Apollo, 17th Century Venetian Painter

17th century Venetian painter The God Apollo Oil on canvas 66 x 48 cm. - Framed 80 x 62 cm. (full details click here) Apollo, the god of music and science, as well as patron of poetry, is depicted here. In accordance with iconographic tradition, he is portrayed as a good-looking young man, crowned with laurel, a plant symbol of victory, under which some legends claim he was born. Instead of the lyre, his other typical attribute, we see him here intent on displaying the silhouette of a noble coat of arms, in honour of the commissioning family. An analysis of the painting allows us to place its execution in the northern Italian school, executed by a Venetian artist in the mid 17th century, although the style is still anchored in the Renaissance dictates of the previous century. It could probably be a trial sketch for a cycle of frescoes with a mythological theme, typical of the great halls of Venetian palaces; on the basis of a stylistic comparison, it can be compared with the production of the Paduan fresco painter Michele Primon (see the fresco cycles Villa Contarini in Piazzola sul Brenta). ADDITIONAL INFORMATION: The painting is sold with a certificate of authenticity and descriptive iconographic card. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. Should you have the desire to see this or other works in person, we will be happy to welcome you to our new gallery in Riva del Garda, Viale Giuseppe Canella 18. We are waiting for you! Contact us for any information or to arrange a visit, we will be happy to answer you. Follow us also on : https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/

Flora As An Allegory Of Spring, Guglielmo Cortese, Known As Borgognone (1628 - 1679)

Guglielmo Cortese, known as Borgognone (Saint Hippolite 1628 - Rome 1679) Flora with putto (Allegory of Spring) Oil on canvas 74 x 61 cm. - Framed 93 x 79 cm. Condition: Good, has restorations The painting in question, of outstanding quality and artistic value, depicts the allegory of spring, personified by the beautiful Flora, the Roman fertility goddess: the young goddess is seated in a graceful pose, sumptuously dressed in a draped gown and with her head adorned with flowers, to emphasise her loveliness, while she embraces a small chubby putto, possibly Zephyrus, intent on grasping a flowering branch. From the middle of the 17th century, the fashion for these decorative depictions of mythological-themed maidens in settings adorned with flowers or fruit soon spread throughout Italy, but especially in Rome. Apart from the decorative character, this type of painting presumably also had a symbolic meaning, for instance in its connection with flowers as a metaphor for female beauty and youth. Another possible meaning of the painting under consideration would be the erotic allusion, not unusual even in a culture dominated by the restrictions of the Counter-Reformation. It is a painting of immediate beauty, combining remarkable pictorial finesse with a scenic construction capable of satisfying even the most demanding gaze. The style of the work, distinguished by a textural drafting with soft strokes and brilliant colourism, make it ascribable to the Roman environment of the second half of the 17th century, and attributable to the work of Guglielmo Cortese known as il Borgognone (Saint Hippolite 1628- Rome 1679), French by origin but active in Italy for most of his career, especially in Rome. The analysis of stylistic and figurative features, in particular the refined style, well calibrated to Baroque exuberance, as well as the setting with elements of classicist ascendancy, are typical features of Borgognone's creations, borrowed from the examples of Brueghel, of whom he was a great follower and with whom he collaborated on several occasions. See for example, among the collaborative works between Guglielmo Cortese and Abraham Brueghel ‘Putti with Flowers in a Garden’ (Private Collection, Bergamo) (1), ‘Still Life with Vases of Flowers and Putti’ (Private Collection, Milan) (2) or the ‘Young Woman with Putto in a Garden with Fruit and Vegetables’ (Private Collection, Modena) (3). Source: Zeri Foundation (1) https://catalogo.fondazionezeri.unibo.it/entry/work/87208/ (2) https://catalogo.fondazionezeri.unibo.it/entry/work/87261/ (3) https://catalogo.fondazionezeri.unibo.it/entry/work/87097/ ADDITIONAL INFORMATION: The painting is sold complete with a nice gilded frame and is accompanied by a certificate of authenticity and descriptive iconographic card. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. Should you have the desire to see this or other works in person, we will be happy to welcome you to our new gallery in Riva del Garda, Viale Giuseppe Canella 18. We are waiting for you! Contact us for any information or to arrange a visit, we will be happy to answer you. Follow us also on : https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/

Saint Michael Archangel, Guido Reni (bologna 1575 - 1642) Workshop Of

Guido Reni (Bologna 1575 - 1642), workshop of probably Giovanni Andrea Sirani (Bologna, 1610 - 1670) Saint Michael Archangel 17th century oil on canvas Dimensions: 142 x 112 cm./ with frame 164 x 135 cm. Provenance: Tuscan Collection, Lucca We share a work of great importance, an imposing oil painting on canvas depicting the famous St. Michael the Archangel, commissioned from Guido Reni in 1635 for the Church of the Capuchins, in Via Veneto in Rome (PHOTO 1), erected as a gift from Cardinal Antonio Barberini (1569-1646), brother of Urban VIII. After a long and intense training in Bologna, culminating at the Carracci Academy, 27-year-old Guido Reni went to Rome in 1602, soon becoming a celebrated interpreter of the taste of the most culturally influential circles, and winning the protection of great personalities such as Popes Paul V, Urban VIII and Scipione Borghese. The canvas shows the Archangel Michael, engaged in the battle against Evil, and depicted as a young man of rare beauty, strong and delicate at the same time, who, with his sword drawn, repels an irritated devil to hell, whose head he tramples with his foot; the soft draperies envelop the angel's body with an intense classicism, where a balanced composition concentrates the observer's attention on his angelic face. Great was the recognition and esteem of his contemporaries, and the painting was immediately an incredible success, also due to the controversy it aroused on the part of the Pamphili family, a family that had always been in conflict with the Barberini, who commissioned the canvas. In fact, Reni, having learnt that Cardinal Giovanni Battista Pamphili, the future Pope Innocent X, had slandered him by denigrating his work, in revenge would impersonate the Devil with his own face. Reni's cunning was to exploit the historical competition between two of the most influential families in seventeenth-century Rome, the Barberini and the Pamphili, for his own personal revenge, while at the same time giving his work sudden celebrity. We can state that the proposed canvas, considering the time of its execution and its superlative quality, is certainly the work of an artist from Reni's prolific workshop. Giovan Andrea Sirani (Bologna, 1610 - 1670), one of Reni's favourites, deserves to be mentioned, so much so that the master even entrusted him with the task of reproducing the cartoons on the canvases and sketching them, continually putting him in contact with the prototypes of the works. With regard to the work in question, we know of a canvas, made by Giovan Andrea Sirani, which very faithfully replicates its subject and characteristics, and which is now housed in the Bob Jones Museum in South Carolina (United States of America) (PHOTO 2). ADDITIONAL INFORMATION: The painting is sold complete with an antique frame and is accompanied by a certificate of authenticity and descriptive iconographic card. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. Should you have the desire to see this or other works in person, we will be happy to welcome you to our new gallery in Riva del Garda, Viale Giuseppe Canella 18. We are waiting for you! Contact us for any information or to arrange a visit, we will be happy to answer you. Follow us also on : https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/

Venice With St. Mark's Square And The Doge's Palace, Maximilian Heilmaier (1869 - 1923) Signed

Maximilian Heilmaier (1869 Isen - 1923 München) Signed Max Heilmaier Munchen bottom left Venice with St. Mark's Square and the Doge's Palace from the Lagoon ( - LINK -) Oil on canvas 50 x 66 cm. In beautiful period frame 81 x 96 cm. Beautiful view of Venice immortalised from St. Mark's Basin with the Riva degli Schiavoni, the majestic Doge's Palace and, on the left, the Venice Mint, now home to the Biblioteca Nazionale Marciana with its tall bell tower in the background. Both buildings overlook St. Mark's Square, introduced by the two columns of St. Theodore and St. Mark (the clock tower can be glimpsed in the background), which support the statues of the patron saints of Venice, Theodore and Mark. A quality work by the painter Maximilian Heilmaier around the end of the 19th century. ADDITIONAL INFORMATION: The painting is sold with a certificate of authenticity and a descriptive iconographic card. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. In the case of purchase of the work by non-Italian clients, it will be necessary to obtain an export permit, which takes about 15/20 days; our gallery will take care of the entire phase until it is obtained. All costs of this procedure are included. Should you have the desire to see this or other works in person, we will be happy to welcome you to our new gallery in Riva del Garda, Viale Giuseppe Canella 18. We are waiting for you! Contact us for any information or to arrange a visit, we will be happy to answer you. Follow us also on : https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/

Carlo Maratta (camerano 1625 - Rome, 1713), Virgin And Child

Carlo Maratta (Camerano 1625 - Rome, 1713) Virgin and Child Late 17th - early 18th century Oil on canvas 49 x 35 cm. - Framed 62 x 48 cm. Provenance: Hampel Munich, Sep. 28, 2023 (lot 265) https://www.hampel-auctions.com/a/Carlo-Maratta-1625-Camerano-1713-Rom-zug.html?a=137&s=884&... The proposed work, depicting a Madonna and Child in a landscape view through the window on the left, can be attributed to the master Carlo Maratta, one of the greatest exponents of 17th-century classicism, or to an author active in his flourishing workshop; The composition shows a remarkable quality of execution, and a style that succeeds in balancing a taste for classicism with a baroque style devoid of excess, two contrasting tendencies that, thanks to Maratta, were able to reconcile with surprising results. Despite its illustrative simplicity, we see the emotional and painterly qualities of the master, who devised specific Marian iconographies distinguished by an idealised beauty. The canvas under scrutiny belongs to this peculiar collector's sphere and the prototype can be recognised in the canvas in the Kunsthistorisches Museum in Vienna from the Albani collection, dated around 1660 (Link: https://catalogo.fondazionezeri.unibo.it/scheda/opera/51842/). Thanks to the exceptional critical and collector's fortune of his works, this one of all, his creations constituted an absolute reference model, a paradigm of a pictorial style that was balanced in all its components (drawing, colour, composition, iconography), making him an undisputed point of reference on the Roman art scene, as well as a source of inspiration for European classicism. An industrious band of pupils and followers gravitated around the master, making it still very difficult today to distinguish, from an attributive point of view, the compositions replicated by the author from those entrusted instead to his pupils, especially those destined for easy circulation and highly appreciated on the market, such as the beautiful Madonna under examination. See, for example, the same Virgin and Child from a Private Collection in Rome (Link: http://catalogo.fondazionezeri.unibo.it/scheda/opera/51751/), and the Virgin and Child with Two Angels from the English collection of Stourhead House in Wiltshire(http://www.nationaltrustcollections.org.uk/object/732152), or the Madonna and Child with St. John, which takes up the subject with compositional variations from the National Museum of Fine Arts in Malta (Link: http://catalogo.fondazionezeri.unibo.it/entry/work/51220/) Originally from Camerano, in the Marche region near Ancona, Carlo Maratti distinguished himself for his precocious talent, moving early on to Rome to Andrea Sacchi's workshop, where he studied all the greatest classicist artists, from Raphael to Bolognese painters. However, he was not immune to the fascination of Baroque art, which, thanks to artists such as Gian Lorenzo Bernini, Giovanni Lanfranco and Pietro da Cortona, was experiencing its zenith. ADDITIONAL INFORMATION: The painting is sold complete with an attractive frame and is accompanied by a certificate of authenticity and descriptive iconographic card. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. Should you have the desire to see this or other works in person, we will be happy to welcome you to our new gallery in Riva del Garda, Viale Giuseppe Canella 18. We are waiting for you! Contact us for any information or to arrange a visit, we will be happy to answer you. Follow us also on : https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/

Pieter Casteels III (1684 - 1749) Signed And Dated, Floral Still Life

Pieter Casteels III (Antwerp 1684 - 1749 Richmond) Signed and dated lower left, on the stone ‘P Casteels F. 1729 Floral still life with roses, peonies, daisies and other flowers in a carved vase resting on an antique frieze oil on canvas 79 x 83 cm. - In frame 96 x 102 cm. Provenance: CHRISTIE'S New York, 26 January 2005, lot 14 (link) LEMPERTZ, Cologne, 20 May, 2017, lot 1114 (link) FULL DETAILS (click here) Superb quality and compositional refinement are the hallmarks of this magnificent still life, a signed jewel of the Antwerp master Pieter Casteels III (Antwerp 1684 - Richmond 1749): the work shows a rich floral composition, with roses, peonies, daisies and other flowers overflowing from a sculpted vase, resting on an antique frieze with a classical relief. The still life excellently documents the expressive qualities of the painter, capable in his creations of creating a sequence of similar compositions but without falling into the banality of illustrative replication, displaying a descriptive sensibility of remarkable visual impact and refinement. The still life, painted in 1729, is therefore a work from his mature artistic phase, the period most appreciated by collectors, as he favoured highly articulated and sumptuous compositions, often set against a landscape background, with rather large formats. Stylistically, these works follow a taste which, from the manner of Gaspar Peter Verbruggen, evolved towards forms not only typical of the Netherlands, but which can easily be defined as European, with typically Italian inflections, winking at painters active in the Neapolitan-Roman environment such as Gasparo Lopez, Francesco Lavagna and Nicola Malinconico. Pieter Casteels was born into an established family of painters in Amsterdam. He moved to England in 1708 and soon made a name for himself in the London art world. After a short stay in Antwerp, he settled permanently in London in 1717. As Castells spent most of his life in England, most of his works can now be found in private collections and British museums. Among the paintings that can be compared are the two still lifes with flowers over carved basins, one of which is signed and dated 1729, sold at Christie's, London, on 6 November 1964, or the still life in a garden passed by Sotheby's, also in London, on 10 December 2015 (lot 134). ADDITIONAL INFORMATION: The painting is sold complete with a pleasing gilded frame and comes with a certificate of authenticity and descriptive iconographic card. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. Should you have the desire to see this or other works in person, we will be happy to welcome you to our new gallery in Riva del Garda, Viale Giuseppe Canella 18. We are waiting for you! Contact us for any information or to arrange a visit, we will be happy to answer you. Follow us also on : https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/

Portrait Of A Child (alessandro Farnese?), Bartolomeo Schedoni (modena 1578 - Parma 1615)

Bartolomeo Schedoni (Modena 1578 - Parma 1615) workshop of Portrait of a child (Alessandro Farnese?) First half 17th century Oil on canvas (95 x 66 cm. - In frame 109 x 80) Full details (click HERE) This intense portrait of a young boy is an interesting workshop work by the Modenese painter Bartolomeo Schedoni (Modena 1578 - Parma 1615), active from 1607 at the court of Ranuccio I Farnese, Duke of Parma and Piacenza. It is in fact a detail extrapolated from a more articulated painting, ‘The Almsgiving of Saint Elisabeth of Hungary’ (1610-11)*, commissioned by the Farnese and executed by Schedoni in 1611. In the work, Elisabeth, Queen of Thuringia who lived in the 13th century and was known for her works of charity, is depicted in the act of giving alms to the needy. Our little effigy, placed in the foreground in the original painting, is here the protagonist as she turns her gaze to the observer, with the aim of drawing his attention and arousing his involvement, according to an expedient that recurs frequently in Schedoni's paintings. There is an interesting interpretation that would see the child as an allegory of the young first-born son Alessandro Farnese, (born on 5 September 1610, ten years after the marriage between Ranuccio and Margherita Aldobrandini), given that on the occasion of the birth, the ducal couple organised celebrations and alms-giving for many days. The painting would therefore have been commissioned as a votive offering in thanksgiving for the birth of their son: the infant wears a yellow and blue jacket, an obvious reference to the Duchy of Parma, while the white petticoat and the red cord, which fastens the clothing, would indicate the intervention of Saint Elisabeth, a Franciscan allegory of charity, who intercedes at the birth of the child. This could also be an apt interpretation in relation to the depiction of the child, certainly not a beggar or an orphan, given his fine and delicate appearance, the care of his robes, his neatly combed blond hair and perfect feet, as well as the regal bearing and proud gaze with which he looks at us intently. Given the excellent quality of execution, the proposed work could be by an artist from Bartolomeo Schedoni's workshop, capable of fully reproducing his style and quality. The magic of the painting and the use of light and colours, with chiaroscuro effects that accentuate its three-dimensionality, in full Baroque style, take us back to the ability to create that atmosphere with an almost metaphysical effect that made Schedoni a master of the highest level. *Bartolomeo Schedoni (Modena 1578 - Parma 1615) Elemosina of Saint Elizabeth of Hungary Naples - Museo e Real Bosco di Capodimonte ADDITIONAL INFORMATION: The painting is sold complete with an antique frame and is accompanied by a certificate of authenticity and descriptive iconographic card. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. Should you have the desire to see this or other works in person, we will be happy to welcome you to our new gallery in Riva del Garda, Viale Giuseppe Canella 18. We are waiting for you! Contact us for any information or to arrange a visit, we will be happy to answer you. Follow us also on : https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/

Hercules And Onphale, Alessandro Varotari, Known As Il Padovanino (padua 1588 - Venice 1649)

Alessandro Varotari, known as il Padovanino (Padua 1588 - Venice 1649) workshop/attributable Hercules and Onphale Oil on canvas (109 x 80 cm. - Framed 126 x 97 cm.) Full details (click HERE) In the proposed beautiful work illustrating the myth of Hercules and Queen Onphale, we can admire the style characteristics typical of the early 17th-century Venetian school, and in particular, the rosy hues of the flesh close to the marked black outlines of the figures lead the work convincingly to the hand of Alessandro Varotari, known as il Padovanino (Padua 1588-Venice 1648). The painting, which could easily be placed around the fourth decade of the seventeenth century, still adheres to the tradition of late-sixteenth-century Venetian painting, in a phase of the artist's reworking of Titianesque modes. His formal elegance and painterly softness are enhanced in mythological scenes such as ours, characterized by sensual and classical nudes. In many ways, these depictions are anticipatory of those that Sebastiano Ricci and Giovanni Antonio Pellegrini would produce a century later. The painter constructs the scene with great theatricality: the hero's mighty body lies on the ground surrendered, unarmed, while the beautiful queen, delicately crowned with pearls, expresses all her supremacy as she stands displaying the club yielded to her by Hercules. The intriguing iconography is based on an episode from Greek mythology (Apollodorus, Library 2.6,3), in which Hercules, the most famous hero of all time and a veteran of his legendary twelve labors, was forced at the behest of the oracle of Delphi to become the personal slave of the queen of Lydia, Onphale. From being a mere servant, Hercules would later become her lover, thus submitting to the magic of Eros, whom we see depicted between the two: in the painting, Hercules' submission is underscored by the fact that the hero, seated on the ground, handed the queen his club, which had become the symbolic attribute of his power, while he handed Eros the golden apples of the Hesperides. Padovanino's late Mannerism is expressed in the articulated relationship of tension of the bodies of all the characters involved and we can find it in numerous works by the author, including the Orpheus and Eurydice of the Galleria dell'Accademia in Venice (1), the Rape of Deianira of the John and Mable Ringling Museum of Art in Florida (2), and finally the Venus and Adonis of Colnaghi in London (3) 1- https://catalogo.fondazionezeri.unibo.it/scheda/opera/59706/ 2- https://catalogo.fondazionezeri.unibo.it/scheda/opera/59734/ 3- https://catalogo.fondazionezeri.unibo.it/scheda/opera/59733/ ADDITIONAL INFORMATION: The work sold is completed by a nice antique frame and comes with a certificate of authenticity and guarantee. We take care of and organize the transportation of the purchased works, both for Italy and abroad, through professional and insured carriers. You can also see the painting in the gallery in Riva del Garda, we will be happy to welcome you to show you our collection of works. Please contact us, without obligation, for any additional information. Also follow us on : INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco

Aniello Ascione (naples, C. 1680 - 1708), Still Life With Festoon Of Flowers And Fruit

Aniello Ascione (Naples, news from 1680 to 1708) Still life with festoon of flowers and fruit Oil painting on canvas 89 x 117 cm - in frame 104 x 132 cm. With expertise and attributive study by Prof. Stefano Causa (University of Naples) Details of the work with extract of the expertise: '' This fruit composition with a festoon of flowers belongs to Aniello Ascione's brush and is a prominent addition to the final game of the Neapolitan still life - the most baroque and decorative one can imagine. The naturalistic work, still Caravaggesque, of the specialists of the early sixteenth century, from Luca Forte to Porpora, now seems a distant memory. The name of Ascione also comes from the comparison with the still life signed by the Civic Museum of Castello Ursini in Catania, against which the painting in question qualifies as a sixteenth version. On the other hand, it is not uncommon for easily repeatable patterns to recur in the workshops of still life painters. The melon on the right, the rush of flowers and, in the background, the profile of a column or a fountain. We could compare them to the normalized formal types used by great southern composers such as Alessandro or Domenico Scarlatti (with whom, however, we find ourselves more or less at the same time as our painting). Set on a diagonal cut, our painting connects to the Neapolitan climate split between Giordano and Francesco Solimena (also in its connections with the contemporary Roman scene of a Michelangelo from Campidoglio and a Spadino). These are the years when still life rises, so to speak, to the maximum volume of presentation. But let's not get ahead and get closer. We are faced with a complex work conceived for amateurs willing to slowly make their way through fruit and flowers with their eyes (and smell). Every single element of the composition is weighed in its individuality and conceived in relation to a large whole. The reading of the painting is triggered by the melon on the right with the jagged skin (a mark of the Ruoppolo family and a badge of belonging). Immediately to the side, a carpet of half-open figs and leaves occupies the foreground of the canvas. The solution of calibrating the fruits diagonally revives the composition by increasing its depth. The shady, almost earthy quality of the surface is decanted in the almost obscenely open pomegranate with the seeds streaked with light; Moving to the right, the fireworks of the bunch of grapes explode (of that particular species which, in the South, is called cornicella grapes). The spectacle of the painting could also end here if, in the center of the page, similar to a versicolor hammock, the festoon did not impose itself as a theatrical coup and as one of the beautiful ideas of the final season of still life. To use an overused metaphor, these paintings are a feast for the eyes. On the right, in the background, peeps out, as a tribute, a piece of architecture with a fountain that Giordano himself would not have rendered with different enthusiasm. [...] '' ADDITIONAL INFORMATION: The work sold is completed by a nice gilded frame and comes with a certificate of authenticity and guarantee. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. It is also possible to view the painting in the gallery in Riva del Garda, we will be happy to welcome you to show you our collection of works. Contact us, without obligation, for any additional information. Follow us also on : INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco

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The Annunciation Alessandro Allori (florence, 1535 - Florence, 1607) Circle Of

The Annunciation Alessandro Allori (Florence, 1535 - Florence, 1607) circle of Oil on canvas 69 x 87 cm. Framed cm. 82 x 100 Splendid canvas celebrating the theme of the Annunciation, the moment when the Archangel Gabriel brings Mary the news that she will give birth to the Son of God, according to a type very much in vogue in the 16th and 17th centuries. On the left, the Archangel Gabriel is depicted with his hands crossed to his chest, caught at the moment of the supreme announcement, his eyes half-closed in an attitude of devotion. Before him is portrayed the maiden Virgin, seated on a throne-like chair, as she turns her gaze upward toward the dove of the Holy Spirit. A diagonal ray of light unites her gaze with God the Father, in the upper left corner, on which is imprinted, as if in a mirror, the Latin locution 'Ecce ancilla Domini' (behold the handmaid of the Lord), or the Virgin's response to the announcement. The canvas shows us an excellent quality of execution, enhanced by the gold trim of the haloes framing the faces. The painter emphasizes the beauty of the Virgin, interpreted as an ethereal woman, characterized by the whiteness of her complexion. Great attention was paid to details, such as the wooden throne all decorated with geometric motifs, with a lace curtain on top, probably worked in bobbin lace, and on the floor a beautiful carpet. The work draws its inspiration from the well-known fresco in Florence's Basilica dell'Annunziata, executed around 1250, with stylistic features that place it without hesitation in the Florentine figurative culture of the mid-17th century: more precisely, we can look for its author in the circle of the Florentine Alessandro Allori. The painter, like many Florentine artists of his time, made several copies of the fresco, whole or partial, commissioned by the grand ducal family and Florentine nobles as objects of private devotion or gifts to be sent to eminent personalities. These include the small painting on copper, signed and dated by Alessandro Allori in 1606, now in the Pitti Palace in Florence(https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0900297026). A copy of Allori's own painting from 1579, commissioned by Francesco I de' Medici as a gift for Cardinal Federico Borromeo, is also in the Museo del Duomo in Milan. And again the Annunciation also attributed to Allori displayed in the choir of the Monte dei Cappuccini(https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0900620035), or the one in the Museo San Domenico in Bologna(https://bbcc.regione.emilia-romagna.it/pater/loadcard.do?id_card=263428&force=1). ADDITIONAL INFORMATION: The painting is sold complete with a pleasant antique wooden frame and comes with a certificate of authenticity and descriptive iconographic card. We take care of and organize the transportation of the purchased works, both for Italy and abroad, through professional and insured carriers. Should you have the desire to see this or other works in person, we will be glad to welcome you to our new gallery in Riva del Garda, Viale Giuseppe Canella 18. We look forward to seeing you! Contact us for any information or to arrange a visit, we will be happy to respond. Follow us also on : https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/

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the Colosseum In Rome At Sunset, Robert Alott (graz 1850-1910 Vienna) Signed Lower Right

Robert Alott (Graz 1850-1910 Vienna) signed lower right R. Alott The Colosseum in Rome at Sunset Oil on canvas (70 x 95 cm. - framed 86 x 112 cm.) FULL DETAILS (click HERE) Fascinating Roman view presented here, executed by the Austrian-born painter Robert Alott (Graz 1850-1910 Vienna), a great traveller and lover of Italy, where he left a series of exceptional views, with a focus on the most famous views of the Eternal City. Always immortalised with an oriental spirit, a great romantic sensibility emerges at the centre of his artistic creations: his landscapes are characterised by a highly delicate painting, subtle reproduction of atmospheric details and impeccable mastery of colour. Just as, in poetry, authors such as Baudelaire extolled the journey as a metaphor of life to elevate oneself towards values of beauty, our work perfectly illustrates the same suggestion, where cultured and refined tourists, whom we see from the back in the foreground on the left, contemplate the great monument, being seduced by its magnificence. The 19th century in fact proved to be the age of travel, which, in the wake of the Grand Tours that had spread in the previous century, was still undertaken to complete one's cultural education, but above all for the personal pleasure of travelling as a source of personal enrichment. Needless to say, Rome, a point of reference for artistic life from the beginning of the 17th century, was the privileged destination for bourgeois families from all over Europe, for the wealth of its collections of antiquities and the great masters of the Renaissance and 17th century, for the great theatre of ruins and the charm of its monuments. The city is represented here in its absolute symbol, the Colosseum, towering imposingly in its elegance full of pathos, and immersed in the popular ambience that could be experienced by bourgeois travellers, eager to possess a ‘souvenir’ in its most characteristic dimension. ADDITIONAL INFORMATION: The work sold is completed by a nice gilded frame and comes with a certificate of authenticity and guarantee. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. It is also possible to view the painting in the gallery in Riva del Garda, we will be happy to welcome you to show you our collection of works. Contact us, without obligation, for any additional information. Follow us also on : INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco

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Baptism Of Jesus, Luca Giordano (naples, 1634 - 1705) Workshop Of

Baptism of Jesus Luca Giordano (Naples, 1634 - 1705) workshop of Oil on canvas 107 x 72 cm In frame 118 x 83 cm Jesus is depicted here being baptised by St John, with his feet immersed in the waters of the River Jordan, while at the top stands the dove enveloped in a glow of light sent down from God and symbolising the Holy Spirit, surrounded by two groups of angels. It is a work that fully reflects the characteristics of the Neapolitan school of the late 17th and early 18th century: the colours are warm and luminous, the chromatic range is clear and soft, and the fast but precise brushstrokes are elements that lead us, in particular, to the production of Luca Giordano and the large group of his pupils. What emerges from the canvas is a refined luministic rendering and a colour choice that is certainly not banal; the tempered chiaroscuro, the vaporous palette and the fluid pictorial modelling, sketched in places, as well as the types of figures, confirm Giordano's figurative culture. The composition also betrays the influence of the Roman classicism prevailing at the end of the 17th century, which is expressed in the serene and casual atmosphere. Born in Naples in 1634, Luca Giordano was the great protagonist of European Baroque art and one of the most prolific painters of all time. Trained in Neapolitan Caravaggism, in the workshop of José de Ribera, he made his debut producing paintings similar to those of the master but also subject to the influence of Mattia Preti. While staying in Rome, he came into contact with the milieu of Pietro da Cortona, while after a subsequent trip to Venice, from 1667, the artist made certain characteristics of Titian's and Veronese's painting his own. ADDITIONAL INFORMATION: The work sold is completed by a wooden frame and comes with a certificate of authenticity and guarantee. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. It is also possible to see the painting in the gallery in Riva del Garda, we will be happy to welcome you to show you our collection of works. Contact us, without obligation, for any additional information. Follow us also on : INSTAGRAM https://www.instagram.com/galleriacastelbarco/?hl=it FACEBOOK https://www.facebook.com/galleriacastelbarco

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