Galleria Castelbarco
  • The Deposition Of Atala, Follower Of Anne-louis Girodet De Roussy-trioson (1767 - 1824)
  • The Deposition Of Atala, Follower Of Anne-louis Girodet De Roussy-trioson (1767 - 1824)
  • The Deposition Of Atala, Follower Of Anne-louis Girodet De Roussy-trioson (1767 - 1824)
  • The Deposition Of Atala, Follower Of Anne-louis Girodet De Roussy-trioson (1767 - 1824)
  • The Deposition Of Atala, Follower Of Anne-louis Girodet De Roussy-trioson (1767 - 1824)
  • The Deposition Of Atala, Follower Of Anne-louis Girodet De Roussy-trioson (1767 - 1824)
  • The Deposition Of Atala, Follower Of Anne-louis Girodet De Roussy-trioson (1767 - 1824)
  • The Deposition Of Atala, Follower Of Anne-louis Girodet De Roussy-trioson (1767 - 1824)
  • The Deposition Of Atala, Follower Of Anne-louis Girodet De Roussy-trioson (1767 - 1824)
The Deposition Of Atala, Follower Of Anne-louis Girodet De Roussy-trioson (1767 - 1824)

1400 €


The deposition of Atala Follower of Anne-Louis Girodet de Roussy-Trioson (Montargis, 1767 - Paris, 1824) 19th-20th century Oil on canvas 47 x 65 cm. - Framed 67 x 84 cm The proposed painting is inspired by the painting 'Atala at the sepulchre', a pivotal work of the French pre-romantic current, which unites in the same canvas the themes of sacrifice and death in a moving scene, by the painter Anne-Louis Girodet de Roussy-Trioson. A favourite pupil of Jean-Louis David, from whom he inherited a formal neoclassical language, he presented this painting, considered to be among his best creations, at the Paris Salon in 1808, and today it is exhibited in the Louvre Museum. The Entombment of Atala 1808 Oil on canvas, 207 x 267 cm Musée du Louvre, Paris https://www.wga.hu/frames-e.html?/html/g/girodet/atala.html The subject is taken from the novel by François-René de Chateaubriand - a writer considered to be the founder of French literary Romanticism - which tells of the unhappy and ill-fated love of Chactas, a young indigenous man, for the daughter of a Spaniard and an Indian convert to Christianity, the beautiful Atala. Here the indigenous warrior Chactas weeps clutching the legs of his beloved, the Native American convert to Christianity Atala, who belongs to a rival tribe. Although the two have managed to flee their respective families in pursuit of their love, Atala is bound from birth by a vow of chastity, and prefers to ingest poison, which soon leads to her death, in order not to give in to the temptation of love for Chactas. ADDITIONAL INFORMATION: The work is sold with a certificate of guarantee and authenticity, with 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. It is also possible to view the painting in the gallery in Riva del Garda, by appointment; we will be happy to welcome you and show you our collection of works. In case of purchase of the work by non-Italian clients, 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 further information. Follow us also on : https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
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Galleria Castelbarco
Address:
Viale Giovanni Prati, 39 ,
38064 Riva del Garda
Country: Italy
Tel.: +39 (0)349 4296 40
E-mail: info@antichitacastelbarco.it
Website: www.antichitacastelbarco.it
Jean-michel Picart (antwerp, 1600 - Paris, 1682), Still Life Of Flowers

Jean-michel Picart (antwerp, 1600 - Paris, 1682), Still Life Of Flowers

Jean-Michel Picart (Antwerp, 1600 - Paris, 1682) Still Life of Flowers Oil on canvas 85 x 73 cm. In frame 100 x 88 cm. Provenance: Galerie Fischer Auktionen, Lucerne (Switzerland), 26-12-2014, lot 1015 (catalogue page 25)* Est: CHF 17,000-25,000 The sumptuous still life on offer here is the work of Jean-Michel Picart (Antwerp, 1600 - Paris, 1682), an artist of Flemish origin who occupied a significant place in Paris during the Grand Siècle as a master in the field of floral still lifes: with its saturated colours, dazzling light and masterful compositions, the painting represents one of the finest examples of his production. After his apprenticeship in Antwerp, according to sources a pupil in the workshop of Frans Francken Il, around 1625 Picart moved to Paris, where he remained for the rest of his life, and had a brilliant career His appreciation is evidenced by the great success his still lifes enjoyed in the second half of the 17th century, sought after by many French collectors and by King Louis XIV himself, who appointed him court painter in 1671. Numerous works by the Flemish painter were in fact kept in the royal palaces of Versailles and Marly, as reported in an inventory of the time: the bedroom of the king, the queen and the king's mother were all decorated with paintings by Picart, as were the bedrooms of the Palais Royal and the palace of Fontainebleau. Initially he painted still lifes in a refined and sober style, such as those of Louise Moillon or Lubin Baugin, later he moved towards a more charged art and baskets, vases and curtains with a baroque effect accumulated in his paintings, bringing him closer to Jean-Baptiste Monnoyer. List of works Flowers in a Glass Vase , Saint-Étienne , Musée d'Art Moderne Basket of Peaches and Grapes , Karlsruhe , Staatliche Kunsthalle Still Life with Flowers and Fruit , 1640 , Portland , Museum of Art Flowers in a Vase , Fontainebleau , National Castle Museum Vase of flowers on an entablature , Troyes, Musée des Beaux-Arts Bouquet of flowers in a vase with leaf decoration in relief , circa 1630, Montreal Museum of Fine Arts ADDITIONAL INFORMATION: The painting is sold complete with an attractive frame and 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. Contact us for any information, we will be happy to answer you. Follow us also on : https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/    
Pieter Mulier (haarlem, 1637 - Milan, 1701), Marina In A Storm With Vessels

Pieter Mulier (haarlem, 1637 - Milan, 1701), Marina In A Storm With Vessels

Pieter Mulier, called the Tempest (Haarlem, 1637 - Milan, 1701) Marina in a Storm with Vessels Oil on canvas 73 x 97 cm. - 101 X 130 cm. This evocative seventeenth-century coastal view is rightfully part of the production of Pieter Mulier, known as the Tempest (Haarlem, 1637 - Milan, 1701), a leading exponent of seventeenth-century Flemish art, displaying with remarkable quality the typical traits of his production, which made him excel in this particular pictorial vein of navies with storms and turbulent seas. The composition is masterfully orchestrated: the gaze falls on the elegant sailing ship with sails swollen by the force of the wind, caught in the storm as it stands near a high rocky promontory on which stands an ancient fortification. We see the skilful use of pictorial material and light tones, applied with rapid touches to convey a lively effect of movement, creating a truly unsettling illusion of waves swept up to crash against the rocks. Mulier masterfully captured the dramatic force of the narrative, where the looming cliff face, the rushing waves enveloping the hulls of the ships and the great chasing clouds give the whole a sublime nuance. These themes, typical of the Baroque taste, enjoyed great success during the 17th century as the taste that could be derived from observing the mighty power of the sea was highly appreciated, as it was highly decorative and apt to arouse the awe of the observer. Although Pieter Mulier's training took place at home in his father's workshop, which initiated him into marine depictions, his stay in Italy, in Rome, from 1666 to 1670, collaborating in particular with Gaspard Dughet, was fundamental for him. Also documented in Piacenza and Venice, his paintings appear in the major collections of the time. The work is of excellent quality and the lighting that characterises the intermediate planes of his entire production here is particularly intense and emphasises the dramatic nature of the scene. Similar works are held in Italy (Burrasca, Rome, Doria Pamphili Gallery) and in foreign collections (Landscape in a Storm, Dresden, Gemäldegalerie). ADDITIONAL INFORMATION: The painting is sold complete with a pleasant 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. Contact us for any information, we will be happy to answer you. Follow us also on : https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Ecce Homo, Workshop Of Valerio Castello (genoa, 1624 - Genoa, 1659)

Ecce Homo, Workshop Of Valerio Castello (genoa, 1624 - Genoa, 1659)

17th-century Genoese School Workshop of Valerio Castello (Genoa, 1624 - Genoa, 1659) Ecce homo Oil on canvas 117 x 99 cm. In frame 138 x 118 cm. FULL DETAILS (click HERE) The Ecce Homo, the subject of our intense canvas, is the Gospel episode during which Jesus, awaiting his condemnation and after his scourging, is presented to the people by Pilate, then the Roman governor of Judea, whom we see portrayed here at his side wearing a turban in the Middle Eastern style. To his right a henchman, with an amused look, holds the rope that binds Christ's hands. The canvas immortalises the moment when the Saviour accepts his final destiny: in his face, not only humiliation but also a moment of deep introspection and emotion. He is then portrayed with a crown of thorns placed over his long hair and stripped of his clothes, his hands tied and crossed, alluding to his immediate crucifixion on Golgotha. ‘’Ecce homo‘’, which literally means ‘Here is the Man’, was the phrase uttered by Pilate himself to designate the scourged Jesus and to ingratiate himself with the crowd, aware that he had condemned an innocent man. This type of portrayal of Christ would be very widespread in the 16th century, giving rise to particularly intense creations, capable of moving even those who do not prefer subjects with such a strong emotional impact. Whipped and mocked while awaiting his martyrdom, it is striking that his face appears sad, resigned, but not suffering, evoking the compassion he granted his executioners. The composition, with its intense devotional character, fits easily into the mid-seventeenth-century Genoese milieu and specifically into the figurative repertoire of Valerio Castello (Genoa, 1624 - 1659); an interpreter of a new compositional conception, breaking with the Genoese pictorial tradition, through a recovery of the masters of sixteenth-century Mannerism and a careful observation of the works of the Flemish, first and foremost Rubens, and the Venetians present in abundance in Genoese collections. Within the sphere of Genoese figurative culture, no-one like Castello was able to interpret, through the liveliness of the compositional rhythm and palette, the new feeling of an era that favoured a strong theatricality, which is well suited to the staging of our subject. ADDITIONAL INFORMATION: The work sold is completed by a nice antique but not coeval 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/    
Alexander The Great Grants Clemency To The Persians, Francesco Fontebasso (venice 1709 -1769)

Alexander The Great Grants Clemency To The Persians, Francesco Fontebasso (venice 1709 -1769)

Francesco Fontebasso (Venice 1709 - Venice 1769) Alexander the Great grants clemency to the Persians Oil on canvas 108 x 153 cm. In frame 120 x 164 cm. Fascinating for its interesting subject matter, the beautiful painting draws its inspiration from the conquest stories of the great Alexander the Great, portrayed giving clemency to a general of the defeated Persian army. Entering into the details of the refined composition, Alexander is portrayed standing with a triumphant air and aware of his own glory, while granting clemency to the people of Persia, here symbolically depicted by two opposing militiamen, one kneeling in submission and a second standing held captive. The details of their armour are interesting, where lion heads, a Persian symbol since time immemorial, stand out, as well as the typical long sabres. Historically, we know that the Battle of Issus (333 BC) definitively gave Alexander dominance of the greatest empire ever created, forcing Darius III to flee and causing panic among the Persian troops, who decided to take Alexander's side, demanding clemency. Alexander treated them with respect and, after swearing allegiance to them, incorporated them into his army, but always imposing his own dominance: our author has immortalised this moment. This is a valuable work, executed by an 18th century Venetian painter and attributable precisely to Francesco Fontebasso (Venice, 1709 - 1769), a painter who tackled this theme on several occasions, a leading protagonist of the extraordinary painting season of 18th century Venice. His training took place in Sebastiano Ricci's workshop, followed by stays in Bologna and Rome. Upon his return to Venice, he allowed himself to be won over by the impetuous chiaroscuro effects of the young Giambattista Tiepolo, whose influence would be evident in all of his work. In its realisation, Fontebasso gives us a work that is strongly emotionally engaging, both for the magnificence of the painting and the theme proposed. In fact, the subject reveals the magnanimity and clemency of the sovereign who often welcomed his conquered enemies with extreme consideration. The true poetry of the painting is the painter's mastery of descriptive detail, so much so as to arouse in the spectator a sense of profound admiration, enraptured by the virtuosity of the technique, the profusion of detail, with the exceptional richness of the details of the uniforms rendered with great skill. Good state of preservation. Rintelato. Pictorial matter in very good condition, with some old restorations scattered over the surface. ADDITIONAL INFORMATION: The painting is sold complete with an attractive 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. Contact us for any information, we will be happy to answer you. Follow us also on : https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
The Allegory Of Europe, Francesco Solimena (canale Di Serino 1657 - Barra 1747) Workshop/circle

The Allegory Of Europe, Francesco Solimena (canale Di Serino 1657 - Barra 1747) Workshop/circle

Francesco Solimena (Canale di Serino 1657 - Barra 1747) workshop/circle The Allegory of Europe oil on canvas 102 x 76 cm. - with frame: 119 x 92 cm. The work, which can be placed around the beginning of the 18th century, reproposes a subject conceived by Solimena and which was then very successful: it is the Allegory of Europe, which together with three other compositions, namely the allegories of Asia, Africa and America, belonged to the series of personifications of the ‘Four Parts of the World’ that Francesco Solimena painted in 1738. Originally executed as frescoes, they were conceived to decorate the private chamber of Charles III of the House of Bourbon in the Royal Palace of Naples and painted to celebrate his marriage to Maria Amalia of Saxony. The centrepiece of the representation, in our painting, is the female figure, depicted with regal attributes, seated with an imperious air while with her left hand she holds the model of an architectural building (a temple), aided by a putto, while with the other hand she points to a crown and a papal tiara, resting on a plinth bearing the name Europa. Of these wall paintings, which were lost during the fire that destroyed the flats in 1837, several studio versions are preserved, many of them oval in format, such as the four canvases now in the Doria Pamphilj Gallery in Rome(http://catalogo.fondazionezeri.unibo.it/scheda/opera/66616/Solimena%20Francesco%2C%20Allegoria%20del...), and traditionally considered preparatory sketches for the fresco. Other paintings are held in private collections or passed on the antiques market: - Berlin, Alte Nationalgalerie - Hazlitt Gallery, London (UK), reported in 1960: http://catalogo.fondazionezeri.unibo.it/scheda/fotografia/119503/Anonimo%20-%20Anonimo%20napoletano%.... - Sothebys, New York, 26 May 2022: https://www.sothebys.com/en/buy/auction/2022/master-paintings-and-drawings-part-ii/allegories-of-the.... The proposed canvas, in particular, is certainly the work of a painter from Solimena's workshop or, in any case, from Solimena's close circle. Examination of the technique of execution reveals a rapid drafting, typical of model paintings, and thus analysis of the cretto would also indicate a coeval date and thus a probable genesis in the master's workshop. The painting offered here can in fact be compared with the prototype in the Doria Pamphilj Gallery, although the composition is specular, and could therefore be another version executed with some variations by a pupil in his studio. In the then capital of the Austrian viceroyalty, Solimena gave life to a prestigious workshop in which some of the greatest painters of 18th-century Naples were trained. The painting is in good condition. ADDITIONAL INFORMATION: The work is sold complete with a nice frame in 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 wish to see this or other works in person, we will be pleased 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, we will be happy to answer you. Follow us also on : https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Sumptuous Sofa Louis XIV, Rome Late 17th - Early 18th Century

Sumptuous Sofa Louis XIV, Rome Late 17th - Early 18th Century

Sumptuous sofa from the Louis XIV period in gilded wood Roman cabinet-making - Ambit of Filippo Passarini (1651-post 1700) Louis XIV period (1661-1715), late 17th - early 18th century Carved and gilded wood Maximum measurements 235 x 84 x height 126 cm. See: A. González-Palacios, Arredi e Ornamenti alla Corte di Roma.1560-1795, Electa, Milan 2004 Prestigious parade couch, richly carved and gilded, a remarkable example of the decorative repertoire typical of Louis XIV, with elements of particular sumptuousness due to the sculptural resolution of the carving: it is part of the Baroque period as an exemplar of Roman cabinet-making, with work composed of luxuriant volutes intertwined with garlands. In Roman palaces between the 17th and 18th centuries, such furnishings, together with imposing consoles and mirrors, were among the most sought-after pieces of furniture, emblems of the patron's wealth, to be displayed in reception rooms, contributing to the majesty of the host palace. In this artistic period, the eagerness to expand the structures more and more outwards seemed to animate the creative flair of architects and carvers. In our case, we are in front of a work realised in the 18th century whose design, of clear Baroque taste, is unequivocally influenced by the models conceived by Bernini. In particular, the construction characteristics of our piece of furniture are reminiscent of the models published by Filippo Passarini at the end of the century, which show an almost uncontrolled vegetal interweaving that nevertheless retains an elegance in which virtuosity immediately amazes the observer. This would be a natural development of Bernini's ideas filtered through the works of Giovanni Paolo Schor and Filippo Passarmi, whose ‘Nuove invenzioni d'Ornamenti’, printed in 1698, must have had a considerable influence on the carvers working in Rome and the Papal States. ADDITIONAL INFORMATION: The furniture is sold 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 and show you our collection of works. In 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 procedure 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/
Pair Of Bronze Candlesticks, Ernest Rancoulet (bordeaux 1842 - 1905) Signature

Pair Of Bronze Candlesticks, Ernest Rancoulet (bordeaux 1842 - 1905) Signature

Ernest Rancoulet (Bordeaux 1842 - Bordeaux 1905) Signature on reverse side ‘Rancoulet’ Pair of bronze candlesticks depicting winged cupids ‘Allegory of Autumn and Spring’ Gilt bronze Total height 41 cm. Good overall condition, shows minor cracks and shortages Pair of 19th century French gilt bronze sculptures resting on circular wooden bases, depicting Autumn and Spring. The allegories are personified by two winged cupids holding a candle-bearing torch. The works bear the signature of Ernest Rancoulet (1870-1915), a renowned French bronze artist and sculptor, famous for his neoclassical bronze figures of mythological creatures, high society women and athletes. He was a student at Lequesne and attended the municipal school in Bordeaux. Rancoulet participated in the Paris Salon for several years, regularly exhibiting his elegant statues and portrait busts. ADDITIONAL INFORMATION: 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 glad to welcome you and show you our collection of works. In 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 procedure 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/
View Of Venice With St. Mark's Square, Vedutist Painter Of The 19th Century

View Of Venice With St. Mark's Square, Vedutist Painter Of The 19th Century

Vedutist painter of the 19th century View of Venice with St. Mark's Square towards the basilica oil on canvas 23 x 32 cm - with period frame 43 x 53 Full details (click HERE) The proposed view captures the beauty and majesty of one of the most iconic places in Venice, St. Mark's Square, which has always been one of the favourite sights of travellers who, passing through the lagoon city on their canonical Grand Tour, wanted an image of the city to take back home. The perspective allows one to admire the square in its entirety, with St Mark's Basilica and the Campanile dominating the background. Although the work is by an early 19th century painter, it is clearly influenced by the great Venetian masters of the 18th century, Canaletto and Bellotto in particular, where the play of light and the colours of the buildings emerge with particular realism. Observing its compositional aspects, we can see that its creator possesses stylistic qualities very close to those of the great masters, including the ability to realistically represent details and immortalise the daily life of the lagoon city, giving the painting a sense of movement and vitality The careful execution allows a lenticular reading of the view and full enjoyment of its aesthetic qualities, especially when observing the most minute details. Over the centuries Venice has been so often immortalised by both Italian and foreign artists as to determine the birth of Vedutism, a new iconographic strand particularly appreciated by the cultured and wealthy Grand Tour travellers eager to return home with a faithful snapshot of the enchanting beauties admired in the Bel Paese. The splendour of 18th century Venetian Vedutism did not end with the end of the Venetian Republic, but continued throughout the following century, and our work is an excellent testimony to this. ADDITIONAL INFORMATION: The work is sold complete with 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 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 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 procedure 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/    
Susanna And The Old Men, Painter Active In Rome In The Early 17th Century

Susanna And The Old Men, Painter Active In Rome In The Early 17th Century

Painter active in Rome in the early 17th century Susanna and the Old Men Oil on canvas 76 x 62 cm. with frame 92 x 78 cm. Details of the work (click HERE) This valuable painting illustrates the piquant episode, taken from the Old Testament (Daniel, XIII), in which the virtuous Susanna, the married daughter of a rich Jew, is caught by two elderly men, newly elected judges, while she is bathing in the garden of her palace. At her refusal to give in to the lusts of the elders, they denounce her with false accusations of adultery, but are eventually exposed for their infamous lies. In this work, the painter adheres to the typical sixteenth-century Italian figurative culture, whereby the male characters come from the opposite side of the young woman who, in her energetic and contorted attitude, expresses modesty and dramatic fear, representing the division between righteousness and iniquity. In the portrait, Susanna is wrapped in a white draped cloth, a symbol of her purity: she knows she has not committed adultery, but her face nevertheless illustrates her fear of not being believed. The iconographic theme of ‘Susanna and the Old Men’, which apparently boasted moralistic intentions, became very fashionable in the Baroque period due to its obvious erotic overtones, duly masked by its biblical origin, and its intrinsic exaltation of conjugal fidelity and chastity. The depiction of Susanna caught half-naked was therefore often a pretext to satisfy the patrons' desire for female nude subjects. The style and heartfelt classicism with which the scene is conceived denote the execution by a capable author active in Rome around the middle of the 17th century. This historical moment, crucial for Italian painting, saw the papal city as an extraordinary crossroads of pictorial stimuli: on the one hand the Lombard painters with a host of artists inspired by Caravaggio's naturalism, but also foreigners, Flemish, French and Spanish, such as Rubens, Poussin and Ribera, and on the other hand the classicist painters from Bologna, first and foremost Annibale Carracci, but also Domenichino and Reni, who continued the great tradition of Raphael. It is therefore difficult to formulate a precise attribution, given this extremely prolific and heterogeneous cultural environment: the structure of the composition in fact recalls, albeit revisited, an invention of Annibale Carracci(https://www.lombardiabeniculturali.it/stampe/schede/C0060-00345/), while if we dwell on the individual figures, that of Susanna evokes one conceived by Rubens(https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0800079030), while those of the two old men evoke the painting with the same subject by Guido Reni(https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0800079030). ADDITIONAL INFORMATION: The work sold is completed by an attractive 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/    
Thomas Hudson (devon 1701 - London 1799), Portrait Of A Notable In His Study

Thomas Hudson (devon 1701 - London 1799), Portrait Of A Notable In His Study

Thomas Hudson (Devon 1701 - London 1799) Portrait of a Notable in his Study Oil on canvas 124 x 102 cm. In antique frame 142 x 120 cm. This fascinating portrait is a valuable testimony to the portraiture that flourished in England in the 18th century; London, the beating heart of a vast empire, became the centre of world trade and of industrial, economic and financial activities within a few years. Our effigy is certainly an illustrious exponent of this period, depicted with those traits of authority and moral rigour that lead us to identify him as a prominent member of high society. He is presumably a man of law, a lawyer, notary or magistrate, but could also be a political figure of the time or a wealthy merchant. His charm matches the character and strong temperament with which he has been skilfully immortalised, as he consults one of the tomes placed on his sumptuously carved and gilded bureau, while in the background we see a prestigious setting with tall marble columns. The majesty of the dress, consisting of a white smocked shirt, a waistcoat and a velvet jacket with wide lapels, indicate the high office occupied and considerable social standing. The proposed work is attributed to the hand of the English painter Thomas Hudson, originally from Devon, although he spent much of his painting career in London, initially a pupil of Jonathan Richardson. Hudson was very prolific between 1740 and 1760 and, from 1745 until 1755, was London's most famous portrait painter; he visited the Netherlands in 1748 and Italy in 1752. In London, he studied under the auspices of Jean-Baptiste Van Loo, whose fashionable practice he followed. As we can see in our portrait, Hudson inherited the solemn prose of both his master Richardson and Van Loo, and his work turned to the more formal and traditional models that resisted the introduction of portraiture into the ‘genius’ exploited by Highmore and Hogarth. Many of Hudson's works can be seen in art galleries throughout the UK, including the National Portrait Gallery, the National Maritime Museum, Tate Gallery, the Foundling Museum and the Bristol Museum and Art Gallery. ADDITIONAL INFORMATION: The work sold is complete with an antique gilded 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 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/
Saint Michael Archangel, Guido Reni (bologna 1575 - 1642) Workshop/follower Of

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

Saint Michael Archangel Guido Reni (Bologna 1575 - 1642) Workshop/Follower of 17th-18th century Oil on canvas (104 x 68 cm. - In frame 109 x 68 cm.) Full details (Click HERE) This high quality painting is based on the famous St. Michael Archangel by Guido Reni, painted in 1635 for the Capuchin Church in Rome (PICTURE 1), erected by donation of Cardinal Antonio Barberini (1569-1646), brother of Urban VIII. After intensive training in Bologna, 27-year-old Guido Reni travelled to Rome in 1602, soon becoming a celebrated interpreter of the tastes of the most culturally influential circles, and winning the protection of great personalities such as Popes Paul V, Urban VIII and Scipione Borghese. The Archangel Michael, engaged here in the fight against Evil, is depicted as a young man of rare beauty, strong and delicate at the same time, who, with his sword drawn, repels to hell an irritated devil, whose head he tramples with his foot. The soft draperies envelop the angel's body with an intense classicism, where a balanced composition directs the viewer's attention to 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, in revenge impersonated the Devil with his own face. Guido 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. Reni tried his hand at executing this subject on several occasions, much appreciated by his patrons, thanks to the characteristics of formal cleanliness and overall balance of the composition that still make it one of the cornerstones of Roman classicism today. With the help of his workshop, he used to return to the same subjects several times, producing versions of his most successful compositions, which makes it difficult to disentangle between autograph replicas, workshop works, often enriched by his intervention, and copies that became autonomous re-readings by some of his best pupils. We can affirm that the proposed canvas is the work of an artist from the workshop or a follower of Reni, painted at a time after his death. ADDITIONAL INFORMATION: The painting is sold complete with a 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/      
Antique Wooden Crucified Christ With God The Father, The Virgin And St. Joh

Antique Wooden Crucified Christ With God The Father, The Virgin And St. Joh

Christ Crucified (Christus Patiens) with God the Father, the Virgin and St. John In the manner of 14th century Tuscan painting Tempera on panel Height: 150 cm Width: 99 cm Performed non-invasive conservation restoration (photo of the work before intervention in detail) Full photographic details (Click HERE) We present this precious antique crucified Christ, with God the Father blessing on the cymatium, the grieving Madonna and St. John in the side terminations; the latter, weeping, are the figures mentioned in the gospels, present at the foot of the cross and who witnessed the sacrifice of Jesus, thus having an important value of testimony and participation. The work, a tempera on panel, is executed in the manner of 14th-century Tuscan painting, following its standards of quality and style. The first painted crosses, produced in Tuscany and Umbria in the 12th century, became the symbol of Christ's sacrifice and thus an emblem of Christianity. While in this first phase the typology of Christ was that of the Christus Triumphans, with the aspect triumphant over death, from the middle of the 13th century, with the preaching of Saint Francis of Assisi, who favoured the human aspect of Christ, the model of the Christus Pathiens was instead preferred. A key work of this genre is Giotto's crucifix in Santa Maria Novella in Florence, not only for its quality, but also for the depth of its meanings and symbolic values, becoming a reference model for the painting of many followers. Giotto renounces the beauty ennobled by the slender and geometrically perfect forms of the body (because they are divine) but improbable, in order to propose the body of an ordinary man, really nailed to the cross abandoned with all his weight physically visible. The painter focuses on the realistic aspects of his condition, such as the colour of the flesh, the blood, the ribs pressing against the skin, the stretched tendons of the arms, the head leaning forward and the sense of exhaustion of the body. As for the cross proposed here, we see a painting rendered according to the fourteenth-century canons introduced by Giotto: Christ has a recumbent head and great attention is given to the anatomical description of the body. It is made of shaped planks of soft wood; the painting is executed in tempera, but reveals a refined quality in the dosage of colours and chiaroscuro passages. The halo, as well as the background of the terminal figures, is made with a gold background, also traditional. In our case, metal decorations are applied to the outline of the halo, a detail that does not belong to the Italian tradition, but seems to belong to the French Gothic taste. ADDITIONAL INFORMATION: Complete with 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 wish to see this or other works in person, we will be pleased 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/