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
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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
Venus Disarming Love, Benedetto Gennari (cento, 1633 - Bologna, 1715) Attributable To

Venus Disarming Love, Benedetto Gennari (cento, 1633 - Bologna, 1715) Attributable To

Giovanni Francesco Barbieri, the Guercino (Cento 1591 - Bologna 1666), workshop Attributable to, Benedetto Gennari (Cento, 1633 - Bologna, 1715) Venus disarming Love oil on canvas 72 x 96 cm. - In frame 89 x 112 cm. Full details (click HERE) The subject of our canvas, Venus Disarming Love, traditionally commissioned to celebrate the love between a married couple (the painting by Alessandro Allori commissioned by Francesco I to honour his union for Bianca Cappello is famous). Cupid, son of Venus, is represented here as a winged boy who, according to typical iconography, carries a quiver inside which he holds arrows ready to strike the future lovers. Venus, by taking the bow and arrow from his hand, intends to sanction that Cupid's task is no longer necessary. Doing so would deprive the god of the useful means to make people fall in love or fall out of love, now visibly annoyed and irritated enough to try in vain to get his weapon back. For this particular subject it is therefore easy to advance the hypothesis that it is an allegory of conjugal love, in which Venus, deprived of her powers by her little son, therefore has the role of protector of marital happiness - and fidelity -. It is a work of great charm, both in terms of its meaning and pictorial quality, both characteristics that denote its proximity to the best Bolognese production of the first half of the 17th century, characterised by a harmonious fusion of the teachings inherited from the classicism of Guido Reni with the predominant teachings of Giovanni Francesco Barbieri, known as Guercino (Cento 1591 - Bologna 1666), to whose prestigious workshop we are inclined to attribute this painting. These considerations are corroborated by looking in detail at the stylistic aspects as well as the execution, quality and the fact that there are no closely analogous images. Although it is far from easy to pinpoint a name in the list of authors gravitating to the workshop's intentions, we are inclined to identify it in the nephew and close collaborator Benedetto Gennari (Cento, 1633 - Bologna,1715). The way of portraying the characters, with such a realistic style that breaks away from the Baroque taste for embellishing the figures with shapes and colours, and the use of light falling from above, proposing chiaroscuro effects, are characteristics that hark back to the mould of Guercino. 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. 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/    
Portraits Of Dutch Married Couples, Cornelis Janssens Van Ceulen (london 1593 - Utrecht 1661)

Portraits Of Dutch Married Couples, Cornelis Janssens Van Ceulen (london 1593 - Utrecht 1661)

Cornelis Janssens van Ceulen (London 1593 - Utrecht 1661) Pair of 17th century portraits of Dutch married couples Oil on wooden panel 69 x 57 cm in frame 96 x 84 cm. A young Dutch married couple is immortalised in our two portraits, both dressed in large, austere black gowns made of precious black silk and fine lace details, all according to the highest standards of elegance of the time. The portraits perfectly fulfil the commissioners' need to demonstrate their social status, and every detail reveals their belonging to a wealthy upper middle-class family of 17th century Holland. The couple's attire, intense and candid at the same time, is meticulous and although it is not excessively ostentatious, it is enriched with some fine jewellery. At a time when black clothing was fashionable, artists endeavoured to depict the different shades and textures of fabrics as convincingly as possible, an ideal background with which to create a contrast to the snow-white linen and rich lace: this extreme opposition between black and white is both austere and exciting and is a characteristic feature of portraiture of this period. The effigies pose naturally, graceful as they gaze at the viewer, aware of their rank, while their lips are moved by a delicate smile, in adherence to the pictorial custom of the time which, in order to express a feeling, required painters to hint at emotions, without making them explicit, and therefore vulgar. The style and character of the paintings lead us to attribute them to Cornelius Johnson (1593-1661), a talented Flemish painter born in London in 1593, the son of Flemish emigrants. In 1632 he was appointed as a painter at the court of Charles I, but was forced to flee towards the end of 1643, following the outbreak of civil war. Johnson and his family returned to the Netherlands, settling in Utrecht, where he remained an important portrait painter until his death. His works, of great technical refinement, are true masterpieces of portraiture, characterised by a naturalistic approach, rendered with a subtle and smooth modulation of paint, and with particular attention to the details of costumes. The couple are depicted within a mock oval enriched by volutes at the corners, an expedient often used by van Ceulen in his portraits. ADDITIONAL INFORMATION: The paintings are sold complete with an attractive frame and come 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/
The Guardian Angel, Ciro Ferri (rome, 1634 - Rome, 1689) Follower Of

The Guardian Angel, Ciro Ferri (rome, 1634 - Rome, 1689) Follower Of

Roman painter, 17th-18th century Ciro Ferri (Rome, 1634 - Rome, 1689) follower of The Guardian Angel (Tobiolo with the archangel Raphael) Oil on tea 100 x 75 cm. in antique frame 126 x 99 cm. The protagonist of our pleasing canvas is the Archangel Raphael, immortalised while protecting a child [1]. The meaning of this iconography, which became widespread mainly between the 16th and 17th centuries, has over time taken on a broader significance, thus ending up becoming the emblem of the guardian angel whose task it is to protect every human being. [1] In the ‘Book of Tobias’, the angel Raphael was invoked by Tobi, a just and poor man, to accompany his son Tobias on a journey; Raphael showed Tobias the safest way and saved him more than once, without ever revealing himself as an angel, except at the end of the story. The angel aptero (without wings, thus before revealing his identity) is here depicted in the guise of a young man with delicate features and a garment clasped at the waist and punctuated by ample drapery. The child he is holding, innocently frightened, turns his eyes to the sky, where through a crack in the clouds the light of divine grace appears. The stylistic and figurative characteristics of the painting evoke echoes of 17th century Roman painting, distinguished for its refined style, capable of combining the Baroque language, sumptuous by definition, with elements of classicist ascendancy. In particular, observing the iconographic characters and drawing traits, it seems fitting to draw close to the style of Ciro Ferri (Rome 1633 - 1689), one of Pietro da Cortona's best pupils, who took up his mastery of drawing and colouristic wisdom. Compared to his master, however, he departed for a more classical, delicate style, enhanced by a luminosity and greater attention to detail: our canvas, of excellent quality, allows us to find all these characteristics. In this case, while appreciating the quality of the painting, the work of another hand, a pupil of the painter or probably a follower active at a later time, is evident. Finally, it is worth mentioning the enchanting landscape on the left, in which we can recognise the famous Dicle Bridge over the Tigris River, the setting for the story of ‘Tobiolo and the Angel’ with its unmistakable arches, and the Diyarbakır Fortress in present-day Turkey (now a UNESCO World Heritage Site). 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. 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/
Andrea Scacciati (Florence 1642-1710), Composition De Fleurs Dans Un Vase En Relief (3 De 3)

Andrea Scacciati (Florence 1642-1710), Composition De Fleurs Dans Un Vase En Relief (3 De 3)

Andrea Scacciati (Florence 1642-1710)  (link) Composition of flowers within embossed vase (3 of 3) oil on canvas 130 x 90 cm In antique frame 145 x 105 cm. Work with expertise by Prof. Emilio Negro Antique frame, with defects and missing. Painting in good condition, old restuarions, presence of an old surface layer of varnish, partially oxidised. The important still life on show - of which two other examples may be available - shows a luxuriant bouquet of numerous botanical varieties, described with careful sensitivity thanks to a richly textured and tonal composition, gathered inside an embossed metal vase resting on a square-shaped support. Given its large size and the fact that it is part of a series, our work was certainly commissioned for the decoration of a patrician palace. It was in fact customary, in large reception halls or in the long corridors connecting the different wings of palaces, to decorate the most important walls with specially commissioned series of works, according to the tastes of the noble owners. The painting, dating from the end of the 17th century, exhibits purely Tuscan school characteristics and is attributed to the Florentine Andrea Scacciati (Florence 1642-1710), a leading figure together with Bartolomeo Bimbi of this pictorial genre in Florence in the late Baroque period. Andrea Scacciati is in fact considered the protagonist of the renewal of the Florentine still life in a Baroque sense in a century that constitutes the golden age of this figurative genre: during the 17th century, still life in fact asserted itself as a genre in its own right and all its inherent potential - in terms of visual suggestion, descriptive precision, compositional wisdom and symbolic density - reached an unsurpassed fulfilment. At the end of the 1860s, the painter set up a workshop in charge of numerous commissions from the ruling house and various noble families. Much loved by the Medici and the most famous patrician families of Tuscany, he was the author of works of the highest stylistic quality, mainly dedicated to floral compositions, defined with expert pictorial skill and enhanced by exclusive colour effects. His canvases were especially requested by Grand Duchess Vittoria della Rovere and Grand Duke Cosimo III and destined for the Villa dell'Ambrogiana. As for the characteristics of his style, one can see a descriptive formula imbued with an original eclecticism, borrowed essentially from his knowledge of 17th-century Flemish and Dutch paintings, and from the refinements of the Roman floral compositions of the famous Mario Nuzzi, better known as Mario de' Fiori. The typology of the composition and the chiselled metal vase are reminiscent of the artist's most typical late period. There are numerous elements typical of the painter that we see again in our still life, including the almost geometric balance of the arrangement of the flowers and the variegated colour scheme in the depiction of the different botanical species, created with variety and elegance, finally enhanced by the dark background. ADDITIONAL INFORMATION: The painting is completed by a 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 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    
Andrea Scacciati (florence 1642-1710) Composition Of Flowers Within Embossed Vase (2 Of 3)

Andrea Scacciati (florence 1642-1710) Composition Of Flowers Within Embossed Vase (2 Of 3)

Andrea Scacciati (Florence 1642-1710) Composition of flowers within embossed vase (2 of 3) oil on canvas 130 x 90 cm In antique frame 145 x 105 cm. Work with expertise by Prof. Emilio Negro Antique frame, with defects and missing. Painting in good condition, old restuarions, presence of an old surface layer of varnish, partially oxidised. The important still life on show - of which two other examples may be available - shows a luxuriant bouquet of numerous botanical varieties, described with careful sensitivity thanks to a richly textured and tonal composition, gathered inside an embossed metal vase resting on a square-shaped support. Given its large size and the fact that it is part of a series, our work was certainly commissioned for the decoration of a patrician palace. It was in fact customary, in large reception halls or in the long corridors connecting the different wings of palaces, to decorate the most important walls with specially commissioned series of works, according to the tastes of the noble owners. The painting, dating from the end of the 17th century, exhibits purely Tuscan school characteristics and is attributed to the Florentine Andrea Scacciati (Florence 1642-1710), a leading figure together with Bartolomeo Bimbi of this pictorial genre in Florence in the late Baroque period. Andrea Scacciati is in fact considered the protagonist of the renewal of the Florentine still life in a Baroque sense in a century that constitutes the golden age of this figurative genre: during the 17th century, still life in fact asserted itself as a genre in its own right and all its inherent potential - in terms of visual suggestion, descriptive precision, compositional wisdom and symbolic density - reached an unsurpassed fulfilment. At the end of the 1860s, the painter set up a workshop in charge of numerous commissions from the ruling house and various noble families. Much loved by the Medici and the most famous patrician families of Tuscany, he was the author of works of the highest stylistic quality, mainly dedicated to floral compositions, defined with expert pictorial skill and enhanced by exclusive colour effects. His canvases were especially requested by Grand Duchess Vittoria della Rovere and Grand Duke Cosimo III and destined for the Villa dell'Ambrogiana. As for the characteristics of his style, one can see a descriptive formula imbued with an original eclecticism, borrowed essentially from his knowledge of 17th-century Flemish and Dutch paintings, and from the refinements of the Roman floral compositions of the famous Mario Nuzzi, better known as Mario de' Fiori. The typology of the composition and the chiselled metal vase are reminiscent of the artist's most typical late period. There are numerous elements typical of the painter that we see again in our still life, including the almost geometric balance of the arrangement of the flowers and the variegated colour scheme in the depiction of the different botanical species, created with variety and elegance, finally enhanced by the dark background. ADDITIONAL INFORMATION: The painting is completed by a 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 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
Andrea Scacciati (florence 1642-1710) Composition Of Flowers Within Embossed Vase (1 Of 3)

Andrea Scacciati (florence 1642-1710) Composition Of Flowers Within Embossed Vase (1 Of 3)

Andrea Scacciati (Florence 1642-1710) Composition of flowers within embossed vase (1 of 3) oil on canvas 130 x 90 cm In antique frame 145 x 105 cm. Work with expertise by Prof. Emilio Negro Antique frame, with defects and missing. Painting in good condition, old restuarions, presence of an old surface layer of varnish, partially oxidised. The important still life on show - of which two other examples may be available - shows a luxuriant bouquet of numerous botanical varieties, described with careful sensitivity thanks to a richly textured and tonal composition, gathered inside an embossed metal vase resting on a square-shaped support. Given its large size and the fact that it is part of a series, our work was certainly commissioned for the decoration of a patrician palace. It was in fact customary, in large reception halls or in the long corridors connecting the different wings of palaces, to decorate the most important walls with specially commissioned series of works, according to the tastes of the noble owners. The painting, dating from the end of the 17th century, exhibits purely Tuscan school characteristics and is attributed to the Florentine Andrea Scacciati (Florence 1642-1710), a leading figure together with Bartolomeo Bimbi of this pictorial genre in Florence in the late Baroque period. Andrea Scacciati is in fact considered the protagonist of the renewal of the Florentine still life in a Baroque sense in a century that constitutes the golden age of this figurative genre: during the 17th century, still life in fact asserted itself as a genre in its own right and all its inherent potential - in terms of visual suggestion, descriptive precision, compositional wisdom and symbolic density - reached an unsurpassed fulfilment. At the end of the 1860s, the painter set up a workshop in charge of numerous commissions from the ruling house and various noble families. Much loved by the Medici and the most famous patrician families of Tuscany, he was the author of works of the highest stylistic quality, mainly dedicated to floral compositions, defined with expert pictorial skill and enhanced by exclusive colour effects. His canvases were especially requested by Grand Duchess Vittoria della Rovere and Grand Duke Cosimo III and destined for the Villa dell'Ambrogiana. As for the characteristics of his style, one can see a descriptive formula imbued with an original eclecticism, borrowed essentially from his knowledge of 17th-century Flemish and Dutch paintings, and from the refinements of the Roman floral compositions of the famous Mario Nuzzi, better known as Mario de' Fiori. The typology of the composition and the chiselled metal vase are reminiscent of the artist's most typical late period. There are numerous elements typical of the painter that we see again in our still life, including the almost geometric balance of the arrangement of the flowers and the variegated colour scheme in the depiction of the different botanical species, created with variety and elegance, finally enhanced by the dark background. ADDITIONAL INFORMATION: The painting is completed by a 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 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
Pair Of Roman Views With Ancient Ruins, Hubert Robert (paris, 1733 - Paris, 1808)

Pair Of Roman Views With Ancient Ruins, Hubert Robert (paris, 1733 - Paris, 1808)

Hubert Robert (Paris, 1733 - Paris, 1808) Pair of Roman views with ancient ruins The Roman Forum/ Fancy Roman view with round temple Oil on paper applied to canvas 16 x 26 cm. - In frame 28 x 37 cm. The pair of paintings is a testament to the landscape art of 18th century Rome, capable of evoking with idyllic sensitivity and atmospheric luminosity the charm that surrounded the Eternal City. The ancient classical vestiges, picturesque monuments and the charm of the waterfalls delighted landscapers and outsiders not unfamiliar with ancient history and literature. Unlike today, the ruins then retained all their exemplary character, all their aura. In the late 18th and early 19th century, what fascinated visitors to Rome most was the harmonious symbiosis of ruins and nature; the slow decay was experienced as a return to the lap of nature. Artists did not tire of presenting spectators with the beauty of walls covered in vegetation, which gradually blended into the landscape. Crumbling vestiges of Roman antiquity make up the scene, orchestrated with expert perspective by the painter. ‘The Roman Forum’ is a classic view, taken from the foot of the Capitol; this perspective frames, under a cloudy Roman sky, the remains of the Temple of Saturn on the right, the Arch of Septimius Severus on the left and the three imposing columns, the only remains of the Temple of Vespasian. The second work also proposes the same pictorial scrupulousness, although the subject immortalised is the work of the author's imagination, with the fascinating ruins of a round temple, reminiscent of the structure of the Temple of Vesta, located at the eastern end of the Roman Forum. The two views reflect, both in terms of subject depicted and in terms of style and taste, the Roman works of Hubert Robert, an artist of French origin who, after an initial artistic education received in his homeland, went to Rome in 1754 where he was admitted to attend courses at the Academy of France. In the eternal city, he specialised in works mainly oriented towards depicting views and glimpses of classical vestiges, also expressing an imaginative vein of remarkable modernity. The idea of the ‘capriccio’ as a pictorial genre, in his works, seems to transcend 18th century classicism and create a genre that will be highly successful: the works presented here adhere to this trend. ADDITIONAL INFORMATION: The paintings are completed by two antique gilded wooden frames and come with a certificate of authenticity and guarantee. In the case of purchase of the works 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 whole phase until it is obtained. All costs of this procedure are included. 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 paintings 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 The Archangel Victorious, Tuscany - 16th Century

Saint Michael The Archangel Victorious, Tuscany - 16th Century

Saint Michael the Archangel victorious over the Devil Tuscany - 16th century Oil on canvas 68 x 52 cm. - In frame 97 x 78 cm. Full details of the painting (click HERE) Of great character is this interesting St. Michael the Archangel subduing the devil, the work of a Tuscan painter at the height of the 16th century, distinguished by a particularly powerful and solemn mannerist language. The composition is presented according to the traditional iconographic scheme: the Angel, depicted as a youth of rare beauty, takes up the image of the warrior, strong and delicate at the same time; with outstretched wings he lifts his spear without apparent effort, ready to strike the blow of victory at the rebel angel lying at his feet. An element that on a collectors' level makes our painting extremely rare, if not unique, is the very particular iconography of the demon with female features. In fact, it appears on the ground, subdued and trampled, as a monstrous hybrid being that is part human and part animal: with the torso of a woman, with prococious breasts, and the tail of a snake. St Michael grasps its animal arm with his claws as if to display such monstrous features. His serene countenance contrasts with the devil's contorted pose and tense gaze, recalling his wickedness, compared to the beauty of the archangel, symbol of goodness. Supreme commander of the angelic hosts, he is a harbinger of strong symbolic power, representing the representing the victory of Good over Evil, although in such iconography we might recognise a broader meaning, that of the victory of virtue over lust and seduction (which has always been personified by woman). The skilful effect of chiaroscuro, which adds volume and substance to the body emerging from the darkness, is well combined with a brilliant chromatic impasto, with the intense red of St. Michael's cloak, with its elegant sinuous folds. The conservation condition of the work appears good. The work is completed by a beautiful gilded wooden frame, not of the period. ADDITIONAL INFORMATION: The painting is accompanied by 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. 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/    
Hagar And The Angel/ The Sacrifice Of Isaac, 18th-century Neapolitan Master

Hagar And The Angel/ The Sacrifice Of Isaac, 18th-century Neapolitan Master

18th-century Neapolitan master Pair of paintings ‘Hagar and the Angel’ and ’The Sacrifice of Isaac’ Pair of oils on oval canvas 75 x 60 cm. - In frame 84 x 69 cm. FULL DETAILS (click HERE) The proposed pair of paintings, works by a Neapolitan author active between the 17th and 18th centuries, depict two biblical episodes from the life of Abraham, involving in particular the patriarch's two sons, Ishmael and Isaac, and narrated in the Book of Genesis. The first painting speaks of the baby Ishmael, Abraham's eldest son, born of his union with the Egyptian slave Hagar, a union consented to by his wife Sarah herself in order to have an heir, since by then she thought she could no longer have an heir, with the aim of adopting him when she gave birth. After the birth of their son Isaac, however, an acute jealousy arises in his wife Sarah towards the young slave Hagar, and Abraham is then forced to send her away together with their son Ishmael, In the episode illustrated we see Hagar, lost in the desert of Bersheba and in despair at the imminent death of her little son, being rescued by the Archangel Michael who points out a spring to which she can take the little one to quench his thirst. The second painting tells instead of Isaac, Abraham's second son, begotten by his wife Sarah although in old age. God subjected Abraham to an extraordinary test of obedience, and to see the strength of his faith, he orders him to sacrifice him. He goes without hesitation to Mount Moriah and as he is about to diligently perform the sacrifice, already holding the knife, he is blocked by the angel sent by the Lord, who grabs his wrist with a strong and firm grip, and shows him a ram to be immolated as a substitute sacrifice. ADDITIONAL INFORMATION: The pair of works is completed by a 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 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    
Psychostasy Of The Archangel Michael, Luca Giordano (naples, 1634 - 1705)

Psychostasy Of The Archangel Michael, Luca Giordano (naples, 1634 - 1705)

Luca Giordano (Naples, 1634 - 1705) workshop of Psychostasy of the Archangel Michael, or the Weighing of Souls (probable preparatory sketch) Oil on canvas 58 x 43 cm. Framed 73 x 61 cm. Full details of the painting (click HERE) The subject of this fascinating canvas is taken from the Last Judgement, an extremely rare and particularly popular theme in painting as it allowed for contorted poses, convulsive and sudden movements, pathos and drama in compositions animated by sumptuous theatricality. In particular, here we see psychostasy, or the weighing of souls by the fighting St Michael: the Archangel is depicted in his armour with wings outstretched, his right arm outstretched to hold a pole from which hangs a scale, which he will use to assess the merits of the souls examined. This Christian tradition derives from the ancient Egyptian religion, where the dead were subjected to a weighing of the heart by the God Anubis before being allowed to enter the afterlife: if the response was in favour, Osiris welcomed the soul, defined as pure, into the ‘Fields of Rushes. On the basis of the book of Revelation, he therefore had the power to sift souls before the Last Judgement: we see one picked up by an angel to be taken to heaven, with God the Father and Christ at the top welcoming the chosen souls into Paradise. While for the elect there will be the ascent into heaven, for the damned the fall into hell, where the figures writhe as they fall into the flames. The structure of the painting clearly indicates that we are dealing with a valuable preparatory sketch, presumably a study for a fresco or larger altarpiece; this suggests that the final work was intended for the decoration of the bay of a church or private chapel. It is a work that reflects the characteristics of the Neapolitan school in the late 17th and early 18th century: the warm and luminous colours, the clear and soft colour range 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. ADDITIONAL INFORMATION: The work sold is completed by an attractive 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    
Portrait Of A Young Boy, Lombard School 17th Century

Portrait Of A Young Boy, Lombard School 17th Century

Lombard School, 17th century Portrait of a Young Boy oil on canvas 109 x 78 cm - 127 x 97 cm with frame Full details of the painting (click HERE) The protagonist of the offered canvas is a chubby little boy, aged approximately five years, a young member of an aristocratic family of the 17th century: he wears sumptuous but sober clothes, consisting of a wide short bell-shaped cape with gold trim and buttons, which covers his dress in shades of red. An analysis of the details of the beautiful portrait, and in particular the stylistic type with which its features are outlined, leads us back to the great tradition of the 17th century Lombard school, although there are also influences, in the details of the dress, of Spanish fashion. This is more than plausible given that in that historical period Spain dominated Europe not only in the political sphere but also in fashion and costume (and especially in Lombardy, under Spanish rule). The golden detail of the buttons and the red of the dress, a colour echoed in the stockings and the bow that closes the shoes, stand out against the almost monochrome of the essential setting within which he is portrayed. Interesting is the apple held in the hand, which traditionally - a reference to the apple of Venus - was included in the portraits as a symbol of good omen, alluding to a future marriage; in wealthy families it was in fact customary to organise unions between the descendants of families from an early age in order to mutually reinforce their power. Perhaps the painting was therefore meant to be a promise of marriage, commissioned as a presentation card for a young man to present to the family of the bride-to-be. In addition to the apple, he holds a hat under his arm, as if already emphasising his future as a member of high society in his own right. Although he presents those traits of rigour and austerity typical of portraiture of this period, they are mitigated by the candid expression on his face, which scrutinises the observer with a typically childlike gentleness. ADDITIONAL INFORMATION: The work is sold complete with an attractive 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 to show you our collection of works. Contact us, without obligation, for any additional information. Follow us also on : https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
SOLD
Holy Family With Saint Anne, Sebastiano Ricci (belluno 1659 - Venice 1734) Attributable

SOLD

Holy Family With Saint Anne, Sebastiano Ricci (belluno 1659 - Venice 1734) Attributable

Sebastiano Ricci (Belluno 1659 - Venice 1734) attributable to Holy Family with Saint Anne Oil on canvas 135 x 100 cm. - with frame 147 x 112 cm. Of extraordinary scenic impact is this Holy Family with St. Anne, which, conceived by the author according to the most canonical pyramidal composition of Leonardo's memory, is enhanced by a studied plasticity of the figures and their perfect articulation in space. At the apex St. Joseph, leaning on his staff, serenely watches over the Madonna holding her son, with whom she exchanges a gaze full of love, with Anna kneeling before them as a sign of respect. This is a work of excellent quality that reproduces a composition by the great Baroque painter Sebastiano Ricci (Belluno 1659 - Venice 1734), from the Molinari Pradelli art collection (published in Volpe C., La Raccolta Molinari Pradelli. Paintings of the Seventeenth and Eighteenth Centuries, 1984, p. 88, no. 46, and again in Daniels J.'s monograph, The Complete Works of Sebastiano Ricci, 1976, p. 111, no. 264) Link: https://catalogo.fondazionezeri.unibo.it/scheda/opera/68607/Ricci%20Sebastiano%2C%20Sacra%20Famiglia... Although the quality of execution might lead us to attribute our canvas also to the Venetian master, for the sake of scruples we prefer to enlarge the reference to an author working in the workshop or to one of his close collaborators who, on request, made a similar version. An artist of extraordinary renown, celebrated by his contemporaries and in demand by the most prestigious patrons, Ricci is considered one of the main figures in the revival of Venetian painting in the 1700s. He was trained by studying the work of Paolo Veronese and other 16th-century Italian painters, in turn influencing painters of the new generation, foremost among them Giambattista Tiepolo. Indeed, the work can be read in its original derivation from Veronese's models, with the pictorial material absorbed into a luminous layout and compositional syntax typical of 16th-century Venetian modes (even in individual elements, such as column and balustrade) and reinterpreted in a contemporary key. See in particular the beautiful figure of the Virgin, draped in the antique style, almost a classical statue as a backdrop to the main scene, and actually the true protagonist of the composition. ADDITIONAL INFORMATION: The work is sold complete with a gilded 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. You can also see the painting in the gallery in Riva del Garda, we will be glad to welcome you to show you our collection of works. Please contact us, without obligation, for any additional information. Also follow us at : https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/