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Landscape with Figures, Oil Painting, 18th Century, Framed, Restored

1700s

Oil on Canvas. Italian school of the late 1700s-early 1800s. The romantic-taste landscape sees a river flowing between rocky banks topped by leafy trees; on the bank, in the left for...

Oil on Canvas. The large composition offers a landscape with a large tree as its centerpiece. to surmount with its sparse branches the countryside below, traversed by a stream and animated by several figures of commoners intent on activities or resting; a fortress rises in the upper right, overlooking the valley. Formerly attributed to Peruzzini from the Marche region, the painting can certainly be traced back to his area, due to the quick, loosely aggregated pictorial strokes. Antonio Francesco specialized in landscape painting, being influenced by Salvator Rosa and landscape painters such as Pietro Montanini...

Oil on Canvas. Signed lower right. Set in a beautiful classical landscape of verdant hills overlooking a waterway, a stream in the foreground that later becomes a wide river in the d...

Oil on Canvas. In a winter countryside landscape, sprinkled with snow, on the bare, bleak, barren nature, snakes amidst completely bare trees a path that leads to the village, an...

A refined oil painting on canvas, framed in gilded and ebonized carved wood. The painting depicts a hilly landscape with a forest, within which we can glimpse architecture and figure...

Antique Italian painting from the 17th century. Oil on canvas artwork depicting a landscape with figures from the Venetian school, of good pictorial quality. We see four characters a...

17th century, Emilian school Rural landscape with gallant scenes Oil on canvas, 37 x 47.5 cm With frame 61 x 50.5 cm The bucolic amenity of the present is reflected in the joyful gallant scenes that dot its surface. The locus amoenus described reflects on the more traditional inflection of Arcadia, which in the literary transfiguration was the scenario par excellence of the most carefree pastoral life and out of this world; the painting is therefore a forerunner of what was professed by the actual poetic academy of Arcadia which was established in Rome in 1690, but enthusiastically testifies to the feverish invitations to its acceptance, then widespread in the most avant-garde cultural salons throughout Italy. First Theocritus and Virgil later had awakened with Idilli and Bucoliche that capacity typical of the natural world to allow an escape from reality; the contemplation of perfect natural fruits that followed would have evoked in the spirits of dreaming men back to origins. The bucolic landscape was able to positively give a rhythm to material life, and constituted the concretization of a place devoid of incivility and ugliness, where only dreams, wild music and homages to fruitful nature were allowed. In the present painting widespread figures of shepherd children trace the same intent to the sublimation of earthly life, gathered in pairs, while children on the model of the ancient cherubs cheer the field with flowers and petals. The games of these and the sweet affections of the other characters are rendered through liquid and vibrant brushstrokes, flickering with a white light that opposes the dark shadow of the undergrowth. In the distance, the sky tapers with a silvery and flat brushstroke, while the vertical development of the promoters with architectures helps to introject a bright beam of light into the grassy clearing. The foliage and the turf of the landscape piece are rendered through a digital brushstroke, betraying the Italian brand of the present, influenced at the same time by the seventeenth-century European influences that then conveyed to the capital. The evocative culture of the city attracted many artists from the city of Bologna, from the Italian north but also from the territories beyond the Alps, such as Claude Lorrain and Nicolas Poussin. The historical-artistic heritage of the Italian pastoral scenes was thus able to fill up with the more functional and particular formalisms of the charms coming from elsewhere, such as the expressive tremor of the present, similar to the contemporary French lexicon. The typological restitution from pastoral idyll, in accordance with the intrinsic stylistic qualities of the work, allows us to specify the solid belonging of the present to the Italian hand, similarly to what was then emerging in the pictorial sphere within the Emilian school. In this regard, we should recall the latent influences of two decisive foreign landscape painters who passed through the Emilian belt, such as Claude Lorrain (1600-1682) and Nicolas Poussin (1594-1665); before them, Giovanni Battista Viola...

Landscape with figures and herd is an original oil on canvas realized in the 18th Century by a School Master of Central Italian School. Original oil painting on Canvas. The painti...