Pont Max, Roman In Armour, Painting, Late XVIIth Early XVIIIth

Early 18th century portrait of nobleman outfitted in suit of armour, with plumed hat, rose velvet, and white silk sash, set on pastoral background.

Beautiful large oil painting on canvas. The scene depicted is ascribed to the biblical repertoire of the Old Testament, taken from the book of Genesis (Gen 2.18-20) "God assigns Adam...

Authentic Italian Fresco in Roman Style – Garden Landscape with Villa, Inspired by Tivoli A remarkable piece of Italian wall art inspired by the classical Roman villas of Tivoli an...

Painting, oil on canvas from the early 20th century, depicting the Pont Marie. Oil on canvas, painting from the early 20th century, depicting the Pont Marie, framed, signed. Frame: ...

The category Antique Paintings, Landscape Paintings, proposed here is an Oil Painting on Canvas, which captures the new "Pont Neuf" bridge in Paris, an ancient painting from the 19t...

End of XIX Century Circa 1880s old oil painting probably "Ecole de Pont Aven " ( South East of French Britany ) in a circa 1920 frame. The lady wears th...

Le Pont Neuf, the oldest existing bridge to span the Seine in Paris, is the subject of this painted board in giltwood frame, signed and dated in the lower left corner by the artist, ...

Exceptional and never before seen Early American folk art oil painting. The scene appears to depict a man telling a woman bad news, presumably of her husband's passing. The subject p...

Italian school, after Peter Paul Rubens Two portraits from the range of the ‘Twelve Caesars’. Three-quarter laureate portraits in oval. The name of the emperor below with Roman num...

Roman school, late 16th-early 17th century Praying Madonna Oil on canvas, 81 x 69 cm Frame 83 x 95.5 cm A divine whiteness reverberates with vibrant luster on the maphorion of the present Virgin. The palpable iridescence that structures the thin rosaceous garment, woven with the same fresh light, produces a slight rustle when she takes her hands off. The Madonna in fact takes a prayerful pose, opening her palms to underline her fervent ecstatic intention; the white neck is rendered with perishable fullness of pigments, like the hands, perfectly alive, and the very shiny eyes. With fine shrewdness the artist of the present styles the Virgin's hair with thin white ribbons, exacerbating the purity. An evocative light falls gently on the bust, a materialized sign of divine glory. The present can be traced back to the late Mannerist climate that prevailed in the capital after the emanation of the Tridentine council (1545-1563). The late Mannerist licenses that can still be seen there, such as the intense lyricism in the stylistic code adopted by the artist, are innervated in the new basic catechetical intent, which at the end of the century produced a certain figurative rigorism. The present, however, still responds to that extraordinary Roman dynamism that raised the capital to a bulwark for the entire mannerist lesson, matched only by a second artistic center, the Florentine one. The engaging carriage of the Virgin reflects the contemporary examples of Giuseppe Valeriano (1542-1596), a Jesuit painter, returning in the Marriage of the Virgin of the Roman Church of Jesus, as well as in the Madonna of Sorrows in the Recanati Altarpiece, equal ardor. But it is in the Assumption of the Virgin painted in four hands with Scipione Pulzone...