Galleria Castelbarco
  • Carnival Scene In 17th-century Rome (piazza Navona) Michelangelo Cerquozzi (rome 1602 –1660)
  • Carnival Scene In 17th-century Rome (piazza Navona) Michelangelo Cerquozzi (rome 1602 –1660)
  • Carnival Scene In 17th-century Rome (piazza Navona) Michelangelo Cerquozzi (rome 1602 –1660)
  • Carnival Scene In 17th-century Rome (piazza Navona) Michelangelo Cerquozzi (rome 1602 –1660)
  • Carnival Scene In 17th-century Rome (piazza Navona) Michelangelo Cerquozzi (rome 1602 –1660)
  • Carnival Scene In 17th-century Rome (piazza Navona) Michelangelo Cerquozzi (rome 1602 –1660)
  • Carnival Scene In 17th-century Rome (piazza Navona) Michelangelo Cerquozzi (rome 1602 –1660)
  • Carnival Scene In 17th-century Rome (piazza Navona) Michelangelo Cerquozzi (rome 1602 –1660)
  • Carnival Scene In 17th-century Rome (piazza Navona) Michelangelo Cerquozzi (rome 1602 –1660)
Carnival Scene In 17th-century Rome (piazza Navona) Michelangelo Cerquozzi (rome 1602 –1660)

8600 €


Carnival scene in 17th-century Rome (in Piazza Navona) Michelangelo Cerquozzi (Rome 1602 – Rome 1660) workshop Roman school of bamboccianti (mid-17th century) Oil on canvas 74 x 96 cm. - Framed 88 x 110 cm. Set in a large square crowded with people in fancy dress and costumes, the painting depicts a jubilant scene during the Carnival celebrations in 17th century Rome, and is therefore a very interesting record of the customs of the time. The painting is set in Piazza Navona, and the detail on the right of the famous Fountain of the Four Rivers designed by Gian Lorenzo Bernini is clearly recognisable, dominated by the sixteen-metre-high Agonal Obelisk, originally located in the Circus of Maxentius on the Via Appia. A city event with ancient origins - inspired by the Saturnalia of the ancient Romans, in which slaves were elevated to the rank of masters, subverting the ordinary social order - Carnival, starting from the 16th century, became one of the main celebrations of papal Rome, and one of the richest and most unbridled in Europe, becoming more popular and renowned than the Venetian carnival during the Renaissance. Not simply a festival, but an integral part of the city's culture: as in ancient times, the Roman oligarchies also granted the population, especially the lower classes, a period dedicated to fun. The entire citizenry participated, the lower classes mingled with the powerful, and could even publicly mock them; protected by the guaranteed anonymity of the masks, a sort of levelling of all social divisions was achieved and the authorities and aristocracy were even publicly derided. People in masks paraded, disguised as characters from the Commedia dell'Arte, especially in the Roman style. And so it was that Via Lata (now Via del Corso), Piazza Colonna and Piazza Venezia became the places dedicated to the unfolding of the festival, allowing the people (and also the masked gentlemen) to take possession of the officiality of the festival. Among the various painters who depicted carnival scenes, a special place is held by the Roman Michelangelo Cerquozzi (Rome 1602 - 1660), to whose workshop we can easily trace our work. Active mainly in Rome, Cerquozzi became known for his affiliation with the Roman Caravaggisti movement - known as the ‘Bamboccianti school’ - a pictorial movement to which Flemish, Dutch and Italian painters adhered, who favoured simple themes with popular scenes drawn from the daily life of Rome at the time. And the Carnival, which lent itself perfectly to a narrative iconography of the people, was therefore a typical subject of the ‘bambocciata’: in Cerquozzi's production there are several works with a carnival theme, preserved in various museums and collections, as well as many other authors belonging to the current, for example Jan Miel (see Carnival in Rome, 1653, Madrid Museo del Prado), Johannes Lingelbach (see Carnival in Rome, 1650/1651 Kunsthistorisches Museum). ADDITIONAL INFORMATION: The painting is sold complete with a beautiful antique frame and is accompanied by a certificate of authenticity and an iconographic description. We organise the shipping of the purchased works, both in Italy and abroad, through professional and insured carriers. If you would like to see this or any other of our works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at 18 Viale Giuseppe Canella. We look forward to seeing you! Please contact us for further information or to arrange a visit. We will be happy to help. 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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Country: Italy
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Carnival In Rome In Piazza Colonna, Roman School Of Bamboccianti (mid-17th Century)

Carnival In Rome In Piazza Colonna, Roman School Of Bamboccianti (mid-17th Century)

Carnival in Rome in Piazza Colonna Roman school of bamboccianti (mid-17th century) - workshop of Michelangelo Cerquozzi (Rome 1602 - Rome 1660) Oil on canvas 74 x 96 cm. - Framed 88 x 110 cm. Full details of the work (click HERE) Set in a large square crowded with people in masks and costumes, the painting depicts a jubilant scene during the 17th-century Carnival of Rome, and is therefore a very interesting record of the customs of the time. The painting is set in Piazza Colonna, with a fragment of the famous column of Marcus Aurelius, entirely decorated with bas-reliefs, and surrounded by some of the most important historical buildings in Rome, in particular Palazzo Ferrajoli and Palazzo Chigi. A city event with ancient origins - inspired by the Saturnalia of the ancient Romans, in which slaves were elevated to the rank of masters, subverting the ordinary social order - the Carnival, starting from the 16th century, became one of the main celebrations of papal Rome, and one of the richest and most unbridled in Europe, and during the Renaissance it became more popular and renowned than the Venetian one. It wasn't just a celebration but an integral part of the city's culture: as in ancient times, the Roman oligarchies allowed the population, especially the lower classes, a period dedicated to fun. The entire citizenry participated, the poor mingled with the powerful, being able to publicly mock them, protected by the anonymity of the masks: a sort of levelling of all social divisions was achieved and even the public derision of the authorities and the aristocracy was authorised. People in masks paraded, disguised as the main characters of the Commedia dell'Arte, especially in the Roman style. And so Via Lata (now Via del Corso), Piazza Colonna and Piazza Venezia became the places dedicated to the unfolding of the festival, allowing the people (and also the masked gentlemen) to take possession of the officiality of the festival. Among the various painters who depicted carnival scenes, a special place is reserved for the Roman Michelangelo Cerquozzi (Rome 1602 - 1660), whose workshop we can easily trace the origins of our work to. Active mainly in Rome, Cerquozzi became known for his affiliation with the Roman Caravaggisti movement - known as the ‘Bamboccianti school’ - a pictorial movement to which Flemish, Dutch and Italian painters adhered, favouring simple themes with popular scenes drawn from the daily life of Rome at the time. And the Carnival, which lent itself perfectly to a narrative iconography of the common people, was therefore a typical subject of the ‘bambocciata’: in Cerquozzi's production there are several works with a carnival theme, preserved in various museums and collections, as well as many other authors belonging to the current, such as Jan Miel (see Carnival in Rome, 1653, Madrid Museo del Prado), Johannes Lingelbach (see Carnival in Rome, 1650/1651 Kunsthistorisches Museum). ADDITIONAL INFORMATION: The painting is sold complete with a beautiful antique frame and is accompanied by a certificate of authenticity and an iconographic description. We organise and take care of the shipping of the purchased works, both in Italy and abroad, through professional and insured carriers. If you would like to see this or any other work in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at 18 Viale Giuseppe Canella. We look forward to seeing you! Please contact us for any information or to arrange a visit. We will be happy to help. You can also follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Carnival Scene In 17th-century Rome (piazza Navona) Michelangelo Cerquozzi (rome 1602 –1660)

Carnival Scene In 17th-century Rome (piazza Navona) Michelangelo Cerquozzi (rome 1602 –1660)

Carnival scene in 17th-century Rome (in Piazza Navona) Michelangelo Cerquozzi (Rome 1602 – Rome 1660) workshop Roman school of bamboccianti (mid-17th century) Oil on canvas 74 x 96 cm. - Framed 88 x 110 cm. Set in a large square crowded with people in fancy dress and costumes, the painting depicts a jubilant scene during the Carnival celebrations in 17th century Rome, and is therefore a very interesting record of the customs of the time. The painting is set in Piazza Navona, and the detail on the right of the famous Fountain of the Four Rivers designed by Gian Lorenzo Bernini is clearly recognisable, dominated by the sixteen-metre-high Agonal Obelisk, originally located in the Circus of Maxentius on the Via Appia. A city event with ancient origins - inspired by the Saturnalia of the ancient Romans, in which slaves were elevated to the rank of masters, subverting the ordinary social order - Carnival, starting from the 16th century, became one of the main celebrations of papal Rome, and one of the richest and most unbridled in Europe, becoming more popular and renowned than the Venetian carnival during the Renaissance. Not simply a festival, but an integral part of the city's culture: as in ancient times, the Roman oligarchies also granted the population, especially the lower classes, a period dedicated to fun. The entire citizenry participated, the lower classes mingled with the powerful, and could even publicly mock them; protected by the guaranteed anonymity of the masks, a sort of levelling of all social divisions was achieved and the authorities and aristocracy were even publicly derided. People in masks paraded, disguised as characters from the Commedia dell'Arte, especially in the Roman style. And so it was that Via Lata (now Via del Corso), Piazza Colonna and Piazza Venezia became the places dedicated to the unfolding of the festival, allowing the people (and also the masked gentlemen) to take possession of the officiality of the festival. Among the various painters who depicted carnival scenes, a special place is held by the Roman Michelangelo Cerquozzi (Rome 1602 - 1660), to whose workshop we can easily trace our work. Active mainly in Rome, Cerquozzi became known for his affiliation with the Roman Caravaggisti movement - known as the ‘Bamboccianti school’ - a pictorial movement to which Flemish, Dutch and Italian painters adhered, who favoured simple themes with popular scenes drawn from the daily life of Rome at the time. And the Carnival, which lent itself perfectly to a narrative iconography of the people, was therefore a typical subject of the ‘bambocciata’: in Cerquozzi's production there are several works with a carnival theme, preserved in various museums and collections, as well as many other authors belonging to the current, for example Jan Miel (see Carnival in Rome, 1653, Madrid Museo del Prado), Johannes Lingelbach (see Carnival in Rome, 1650/1651 Kunsthistorisches Museum). ADDITIONAL INFORMATION: The painting is sold complete with a beautiful antique frame and is accompanied by a certificate of authenticity and an iconographic description. We organise the shipping of the purchased works, both in Italy and abroad, through professional and insured carriers. If you would like to see this or any other of our works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at 18 Viale Giuseppe Canella. We look forward to seeing you! Please contact us for further information or to arrange a visit. We will be happy to help. Follow us also on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Dionysus (allegory Of Taste), Caravaggesque Artist Active In Rome In The 17th Century

Dionysus (allegory Of Taste), Caravaggesque Artist Active In Rome In The 17th Century

Caravaggesque northern artist active in Rome in the 17th century, active in Rome in the 17th century. Workshop of Gerard van Honthorst (Utrecht, 1592 – Utrecht, 1656) Dionysus/Bacchus (as an allegory of taste) oil on canvas 65 x 52 cm. In antique frame 82 x 68 cm. Complete details of the work (click HERE) An analysis of the composition and style of this interesting portrait, which depicts Dionysus (commonly known as Bacchus) while sipping a cup of wine, allows us to link its execution to the workshop of the Flemish painter Gerard van Honthorst (Utrecht, 1592 – Utrecht, 1656). A highly talented Dutch painter, he was a prominent member - together with Dirck van Baburen and Hendrick ter Brugghen - of the ‘Caravaggisti of Utrecht’, a group of artists who moved from the Dutch city to Rome at the beginning of the 17th century where they were fascinated by Caravaggio's painting. Profoundly influenced by the great master's innovation, on their return home they introduced the same realism in their choice of subjects and intense chiaroscuro into their own works. The close-up, almost life-size composition gives the work realism and immediacy, further enlivened by dramatic lighting effects that emphasise the ruddy complexion of our drinker. We find this type of subject in many of his compositions, thanks to which the artist acquired great fortune among collectors, in which the almost caricatural definition of the characters is accompanied by iconography of great character. Dionysus, god of wine and intoxication, has large dark eyes looking at the spectator, his lips, nose and cheeks are slightly red, and he has shoulder-length curly hair: the relaxed attitude of the figure and his grinning expression clearly indicate that he is under the influence of drink. The theme of the pleasure of food, and in particular of merry drinkers, already favoured by Italian art in the style of Caravaggio, was therefore very popular among Flemish artists, who imported these subjects to Northern Europe. We can identify many of them in the painter's catalogue, but among those most similar to the painting we are offering is ‘Young Bacchus Squeezing Grapes into a Bowl’ by the National Trust (National Trust, Hatchlands, England) or the ‘Young Man with a Flask of Wine and Cheese’ (Christie's 5 Dec 2020) and ‘Cheerful Violinist’ (Hermitage St. Petersburg). ADDITIONAL INFORMATION: The painting is sold complete with a beautiful gilded wooden frame and is accompanied by a certificate of authenticity and an iconographic description. We organise and take care of the shipment of the purchased works, both in 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/          
Martin Van Meytens (1695 - 1770), Maria Theresa Of Habsburg And Francis I Of Lorraine

Martin Van Meytens (1695 - 1770), Maria Theresa Of Habsburg And Francis I Of Lorraine

Martin van Meytens (Stockholm 1695 - Vienna 1770) Portrait of Empress Maria Theresa of Habsburg (Vienna 1717 - 1780) Portrait of Emperor Francis I of Lorraine (1708 - 1765) oil on canvas (empress) 42 x 36 - Framed 50 x 44 Oil on canvas (emperor) 40 x 34 - Framed 48 x 40 Full details of the works of art (click HERE) Our gallery is pleased to present this valuable pair of portraits depicting the Austrian Empress Maria Theresa of Habsburg (Vienna 1717 - 1780) and her consort Francis Stephen of Lorraine (1708 - 1765). The two paintings are characterised by an executive skill that denotes the work of a very talented artist: In particular, the quality and refinement of the style make them easily attributable to the court painter Martin van Meytens (Stockholm 1695 - Vienna 1770), one of the most important portrait painters of his time, and for this reason in demand by the most prestigious European courts as well as the imperial family. A Swedish painter who became a naturalised Austrian citizen, Van Meytens became famous for having been the official portrait painter of the Viennese court (from 1732) during the golden age of the 18th century, portraying the Austrian empress and her consort on numerous occasions. His works are characterised by a precise and detailed representation of 18th century court fashion, showing exquisite lace and embroidery, and this painting is an excellent example. Maria Theresa, an enlightened sovereign, who ascended to the throne by the will of her father Charles VI of Habsburg and against the advice of European rulers, made the empire modern and competitive thanks to a series of reforms in the name of enlightened absolutism. In our canvas, the Royal Highness is dressed in a formal gown, trimmed with lace and brocade, her shoulders are wrapped in a red velvet cloak with an ermine lapel and many precious jewels, including earrings and a hair clip with drop-shaped diamonds and a precious bracelet with three strands of pearls with a portrait with a cameo with the portrait of her consort, a detail of exceptional refinement. Francis Stephen of Lorraine married Maria Theresa in 1736, thus founding the House of Habsburg-Lorraine, which held the reins of Austria and the Habsburg hereditary states until the First World War. Sixteen children were born of their union, including the future emperors Joseph II and Leopold II and the queens Maria Carolina of Naples and Marie Antoinette of France. The ruler, portrayed in a half-length portrait, is immortalised in a sumptuous ceremonial armour, topped by a cloak lined with purple velvet and ermine, closed on his chest by a precious brooch set with diamonds, which descends to cover his right arm, with which he holds the baton of command. Behind him is the crown, his royal attribute. The works are presented in excellent condition, with gilded wooden frames. ADDITIONAL INFORMATION: The paintings are sold with a certificate of authenticity and an iconographic description. We take care of and organise the transport of the purchased works, both in 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/            
Portrait Of A Gentleman In Renaissance Dress, Frans Pourbus (bruges, 1545 - Antwerp, 1581)

Portrait Of A Gentleman In Renaissance Dress, Frans Pourbus (bruges, 1545 - Antwerp, 1581)

Frans Pourbus (Bruges, 1545 - Antwerp, 1581) circle Portrait of a gentleman in Renaissance dress with a black doublet and ruff Late 16th century Oil on canvas 46 x 32 cm. - 65 x 53 cm. (frame) Full details of the work (click HERE) An ancient Flemish painting, oil on canvas, depicting a distinguished gentleman immortalised according to the most classic Nordic tradition, in three-quarter view, with his gaze intently scrutinising the spectator. Looking at the details, we can see the meticulous but light rendering of the facial features, the sharpness of the outlines emphasised by the light and the extraordinary expressive power of the eyes. He is dressed in an elegant black doublet, the favourite colour of Renaissance princes, bourgeois and highly cultured intellectuals, with broad puffed shoulders, very few ornaments and enriched by a wide pleated white ruff known as a ‘mill wheel’, typical elements of fashionable clothing in the second half of the 16th century. The attention to detail and the realism with which the portrait is painted are surprising, with particular attention paid to the gaze, which almost seems to be conversing with the viewer. In particular, the stylistic models easily lead us to attribute it to an artist from the school of the famous portraitist Frans Pourbus the Elder (Bruges, 1545 – Antwerp, 1581), one of the most influential portraitists of his generation and a great interpreter of 17th-century Flemish civilisation, son of Pieter Pourbus (1523-1584) and pupil of Frans Floris. He was an author of altarpieces but also of numerous portraits characterised by their sobriety, with elegant and uniform tones, halfway between Adriaen Thomasz Key (Antwerp, 1544 - 1589) and Anthonis Moor van Dashorts (Utrecht 1519 - Antwerp 1576). As can be seen from the work in question, his style owes much to Italian Renaissance portraiture, even if his surfaces are more detailed and glossy, in a style clearly of Nordic influence. He became the undisputed reference point for this art, renowned for his extraordinary talent as a painter and for his ability to transpose the psychological acuity of his models onto canvas. ADDITIONAL INFORMATION: The painting is sold complete with a tasteful frame and is accompanied by a certificate of authenticity and a descriptive iconographic card. We organise and take care of shipping purchased works, within Italy and abroad, through professional and insured carriers. If you'd like to see this or any of our other works in person, we'd be delighted to welcome you to our new gallery in Riva del Garda, at 18 Viale Giuseppe Canella. We look forward to seeing you! 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 entire process until it is obtained. All costs of this procedure are included. 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 Mismatched Couple, 17th Century Flemish School

The Mismatched Couple, 17th Century Flemish School

17th century Flemish school The Mismatched Couple Oil on canvas 75 x 96 cm. Framed 96 x 118 cm. Full details of the work (click HERE) The curious subject we see depicted in the canvas proposed here belongs to the tradition of the so-called ‘mismatched couples’, a very fashionable theme in Nordic Renaissance painting, especially in the German and Flemish areas. The theme, which enjoyed great popularity and success among collectors of the time, involved the depiction of deliberately grotesque couples, often consisting of an attractive young woman accompanied by an old man who was repulsive in appearance but rich. Alongside the numerous examples by Lucas Cranach and his school, we also find this subject in the work of Dutch masters such as Lucas van Leyden, Jacob Cornelisz, Quinten and Jan Metsys. And it is precisely a work by Jan Massys (Antwerp, c. 1510 – 1575), kept in the art collection of the Nationalmuseum in Stockholm, Sweden (https://collection.nationalmuseum.se/sv/collection/item/17511/), that inspired our author to reproduce the painting with some variations. The works, besides appearing at first sight to be amusing and satirical, invited the observer to delve into their intriguing narration, from which various moralising messages could be drawn. The main idea is as old as humanity itself, but still current: an old man allows himself to be charmed by a considerably younger and more beautiful woman who is clearly not interested in him, but only in his money. It's interesting to note that in these paintings we see the deception taking place, and the moral of the story is clear: these couples are obviously not united by true love, but their relationship is based on a two-fold advantage (carnal for the old man, economic for the young woman). In particular, we see here a beautiful young woman who, while making herself available to the lustful desires of the rich old man, takes advantage of the situation to keep him from realising that she has an accomplice who is intent on robbing him. The interesting thing is that this is not an allegorical representation with a hidden meaning; in this case the action is represented, the very moment of the fraud that here becomes obvious. Therefore, no particular symbolic knowledge is needed to enjoy the work: an aspect dictated by the need to make these paintings more easily readable and therefore saleable to collectors of the time. The message for the observer is clear: this kind of relationship leads only to depravity and derision, to the loss of all dignity, emphasising how ridiculous such behaviour is. Today we don't pay too much attention to it, we've become too accustomed to seeing images of these modern ‘mismatched’ couples, but several centuries ago it was art that, in addition to an aesthetic value, also had a moralising one. Jan Massys (1509 - 1575) Mismatched Couple 97 x 134 cm National Museum of Fine Arts, Stockholm, Sweden ADDITIONAL INFORMATION: The painting is sold complete with a tasteful frame and 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 within Italy and abroad, through professional and insured carriers. If you would like to see this or any other work in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at 18 Viale Giuseppe Canella. We look forward to seeing you! Please contact us for any information or to arrange a visit. We will be happy to help. You can also follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/    
Anthoon Van Dyck (antwerp 1599 - London 1641) Workshop - Christ Carrying The Cross

Anthoon Van Dyck (antwerp 1599 - London 1641) Workshop - Christ Carrying The Cross

Anthoon van Dyck (Antwerp 1599 - London 1641) workshop - Christ Carrying the Cross - 17th century - Oil on canvas (120 x 94 cm - framed 140 x 112 cm). Full details of the work (click HERE). This remarkable canvas, depicting the Christ Carrying the Cross, possesses the stylistic features that characterise the refined Flemish production of the early 17th century, and in particular can be traced back to the workshop of Anthoon van Dyck (Antwerp 1599 - London 1641), one of the most influential and celebrated painters of the Flemish Baroque. The moment represented is one of the most intense of the Passion, the one in which Christ, after having suffered the mockery and torture of his tormentors, is loaded with the weight of the cross and begins the climb to Calvary, where he will meet his death. Although this is an iconographic formula that traditionally identifies a dramatic moment, which focuses attention on the sufferings of Christ, here we see him depicted without the slightest sign of the torture he suffered and without the crown of thorns on his head. The only exception is the marks of the nails on his hands, which foreshadow the destiny he will have to face, without dwelling on it excessively. His body, with its perfect form, appears strong and healthy, and does not give in to the weight of the cross, while on his face we see a thoughtful expression but one of great serenity, and the image is so composed that the movement is almost forgotten. The painting is beautifully composed, in perfect harmony with Baroque art, characterised by rich tones, the deep red drape being the perfect example, and a dramatic use of light and shadow that emphasises the pathos of the moment. The painting is based on, albeit with modifications, the model of Christ Carrying the Cross by Anton Van Dyck, now kept in Genoa at the Musei di Strada Nuova (Imm.1. , https://www.museidigenova.it/it/cristo-portacroce) This painting on wood completed a series of the Twelve Apostles, once present in the Genoese Serra picture gallery, currently divided among various collections around the world. An early work, dating from the period of Van Dyck's activity prior to his arrival in Genoa, it can be compared with a similar subject by Rubens (Imm.2 - https://catalogo.fondazionezeri.unibo.it/scheda/opera/101477/). In fact, the influence of the older master is also evident in the style. ADDITIONAL INFORMATION: The painting is sold complete with a tasteful frame and is accompanied by a certificate of authenticity and an iconographic description. We organise and take care of the shipping of the purchased works, both in Italy and abroad, through professional and insured carriers. If you would like to see this or any other of our works in person, we would be delighted to welcome you to our new gallery in Riva del Garda, at 18 Viale Giuseppe Canella. We look forward to seeing you! Please contact us for further information or to arrange a visit. We will be happy to help. Follow us also on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/      
Idyll Between Venus And Adonis, Workshop Of Filippo Lauri (rome, 1623 – 1694)

Idyll Between Venus And Adonis, Workshop Of Filippo Lauri (rome, 1623 – 1694)

Workshop of Filippo Lauri (Rome, 1623 – 1694) Idyll between Venus and Adonis Oil on canvas 49 x 65 cm. - Framed 65 x 82 cm. Excellent condition Complete details of the work (click HERE) The beautiful painting on offer, depicting a love scene between Venus and Adonis, is attributed to an artist active in Rome in the mid-seventeenth century, who trained following the stylistic and compositional examples of the Roman Filippo Lauri (Rome, 1623 – 1694). This type of mythological representation enjoyed great success, especially in Rome in the first part of the 17th century: at the beginning with Poussin, the main exponent in the direct wake of Titian, then continuing with authoritative masters such as Lorrain, Spierinck and Lauri himself, artists who contributed to developing this theme in a fascinating convergence of artistic ideas. Lauri, in particular, whose renowned workshop we can easily compare to the painting in question, was the author of exquisite compositions with mythological and Arcadian subjects, realised with grace and a rapid pictorial style, so much so that he obtained extraordinary success with the demanding aristocracy of the capital. In particular, in the painting in question, we see a depiction of the love affair between the most beautiful of the goddesses, Venus, and the young mortal Adonis, an episode taken from classical sources and in particular from the Latin poet Ovid (Metamorphoses X, 525-559), with the two lovers immortalised in a moment of tenderness. Madly in love with her beloved, thanks to the help of an arrow shot by Cupid, the goddess decided to follow the beautiful hunter everywhere he went on his hunting expeditions, no longer paying attention to her usual occupations. Here we see them surrounded by numerous playful cupids, representing amorous passion and therefore life, and by her handmaidens, the Three Graces, intent on cooling themselves in the pool of water. Other cherubs enliven the scene: one playfully guides the goddess's chariot pulled by doves, another entertains Adonis's two greyhounds, and a third embraces a swan. ADDITIONAL INFORMATION: The work is sold with a certificate of guarantee and authenticity, with a descriptive iconographic sheet. We organise and take care of the transport of the purchased works, both in Italy and abroad, through professional and insured carriers. It is also possible to see 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. Contact us, without obligation, to receive any further information. Follow us also on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/    
Triumph Of Bacchus And Ariadne, Workshop Of Filippo Lauri (rome, 1623 – 1694)

Triumph Of Bacchus And Ariadne, Workshop Of Filippo Lauri (rome, 1623 – 1694)

Workshop of Filippo Lauri (Rome, 1623 – 1694) - Triumph of Bacchus and Ariadne Oil on canvas (49 x 65 cm. - Framed 65 x 82 cm.) Excellent condition Full details of the work (click HERE) The beautiful painting on offer, depicting a love scene between Bacchus and Ariadne, is attributed to an artist active in Rome in the middle of the 17th century, who trained following the stylistic and compositional examples of the Roman Filippo Lauri (Rome, 1623 - 1694). This type of mythological representation enjoyed great success, especially in Rome in the first part of the 17th century: at the beginning with Poussin, as the main exponent in the direct wake of Titian, then continuing with authoritative masters such as Lorrain, Spierinck and Lauri himself, artists who contributed to developing this theme in a fascinating convergence of artistic ideas. Lauri, in particular, whose renowned workshop we can easily compare to the painting in question, was the author of exquisite compositions with mythological and Arcadian subjects, realised with grace and a rapid pictorial style, so much so that he obtained extraordinary success with the demanding aristocracy of the capital. In particular, in the painting in question, we see a depiction of the amorous union between the god Dionysus, called Bacchus by the Romans, and the beautiful Ariadne, daughter of the Cretan king Minos. This episode is taken from classical sources, in particular from the Latin poet Ovid (Metamorphoses, book VIII), where the two lovers are immortalised during a celebration in honour of their wedding. Ariadne, in love with Theseus, is deceived and abandoned by the young Athenian who, in exchange for her help in defeating the terrible Minotaur, had promised to marry her. The Athenian hero took her with him on his return to Athens, but when they arrived in Naxos he took advantage of a moment when the young woman had fallen asleep on the beach, and abandoned her. After learning of her lover's betrayal, Ariadne began to despair without respite, until her sweet and sad lament reached the ears of the god Bacchus, son of Jupiter. When he saw her, he was fascinated by her beauty, fell madly in love and decided to take her as his wife. As a token of his love, he transformed the woman's crown into a constellation. The canvas, which is based on the classical source, sets the scene in an idyllic landscape on the coast of the island, at the moment when the procession of the triumphant god bursts in, accompanied by nymphs, satyrs and dancing satyrs with Bacchus at the centre, surrounded by his procession, while he takes Ariadne's arm to propose to her. ADDITIONAL INFORMATION: The work is sold complete with a beautiful gilded wooden frame and is accompanied by a certificate of guarantee and authenticity, with a descriptive iconographic card. We take care of and organise the transport of the purchased works, both in 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. Contact us, without obligation, to receive any other information. Follow us also on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Guitar Player, Gaspard Netscher (heidelberg, 1639 - The Hague, 1684)

Guitar Player, Gaspard Netscher (heidelberg, 1639 - The Hague, 1684)

Gaspard Netscher (Heidelberg, 1639 - The Hague, 1684) Guitar Player Oil on canvas 39 x 31 cm. - Framed 55 x 45 cm. With expertise by Prof. Ferdinando Arisi Outside a patrician palace, a woman is portrayed seated while delighting in playing a baroque guitar. Her depiction, bare-breasted, with a stool and a table richly carved with putti figures beside her, on which a score and a lute are resting, could be elements that give the painting symbolic value, particularly as an allegory of music. The beautiful composition, which we can date to around 1670/80, is the work of Gaspard Netscher (Heidelberg, 1639 - The Hague, 1684), one of the leading artists of the Flemish Golden Age, known above all as a portrait painter of many illustrious personalities of his time, including William of Orange and Mary II of England and Madame de Montespan. His production mostly consists of small but elegant portraits in which the influence of French painting can be perceived and often set outdoors, in elegant gardens illuminated by evening light, and enriched by elaborate sculptural works. In our case, this propensity is detected in the typically Baroque richness of the two furnishings, rendered with such precision that they can be defined as a still life in the painting. By way of comparison, we list below some works by the painter, similar in iconographic and stylistic choices to ours: - Lute Player, Piazzale degli Uffizi, Florence https://rkd.nl/en/explore/images/295845 - Portrait of Adriana Sophia van Raesfelt, Private Collection https://rkd.nl/en/explore/images/32087 - Portrait of a Lady (Anne Stuart ?), Huntington Museum of Art, Huntington https://rkd.nl/en/explore/images/305078 - Portrait of a Lady in a Garden, Rotterdam, Museum Boijmans Van Beuningen https://rkd.nl/en/explore/images/16022 Netscher's works can be found in various collections around the world, in museums such as the Uffizi Gallery, the Galleria Colonna in Rome, the Hermitage in St. Petersburg, the Louvre in Paris, the Boston Museum of Fine Arts, the Fine Arts Museum in San Francisco, and the New York Metropolitan Museum of Art. Excellent conservation condition. ADDITIONAL INFORMATION: The painting is sold complete with an attractive gilded 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. Please contact us for any information, we will be happy to answer you. 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 operation are included. Follow us also on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/  
View Of Venice With The Island Of San Giorgio, Follower Of Canaletto (venice, 1697 – 1768)

View Of Venice With The Island Of San Giorgio, Follower Of Canaletto (venice, 1697 – 1768)

View of Venice with the Island of San Giorgio Maggiore Follower of Canaletto (Venice, 1697 – Venice, 1768) Venice - 19th century oil on canvas 29 x 39 cm. - Framed 40 x 50 cm. Well executed, characterised by a palette of bright colours and a soft play of light and shade emphasised by a pleasant luminosity, the canvas - painted in the 19th century - is an interesting evocation of the refined Venetian vedutism. It is a very interesting glimpse of Venice, a view of the island of San Giorgio Maggiore, located in front of St Mark's Square and bordered by the Giudecca Canal and the St Mark's Canal. In the centre stands the majestic facade of the Basilica of San Giorgio Maggiore, designed by Andrea Palladio, an essential element of the panorama that can be seen from St Mark's Square and in many paintings by landscape painters. The painting, with its precise brushstrokes and the architecture defined in miniature with good veduta technique, is typical of the veduta production of artists who were inspired by the great Antonio Canal, known as Canaletto (1697-1768), the diamond tip of 18th century vedutism. Works like ours, in particular, were produced in Venetian workshops in the 19th century, to satisfy collectors and refined travellers, especially English and German, but also French, who visited the city during their ‘Voyage d'Italie’, eager to possess an image of Venice in its most relaxed and characteristic dimension. They were often commissioned in small sizes, to allow them to be transported with luggage, while now these small ‘postcards’ have become highly sought after and appreciated by modern collectors. ADDITIONAL INFORMATION: The work is sold complete with a pleasant gilded wooden frame and is accompanied by a certificate of authenticity and an iconographic descriptive sheet. We take care of and organise the transport of the purchased works, both in 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 and show you our collection of works. In the event of the work being purchased by a non-Italian client, it will be necessary to obtain an export permit, which takes approximately 10/20 days; our gallery will take care of the entire process until the permit is obtained. All the costs of this procedure are included. Please feel free to contact us for any further information. Follow us on: https://www.instagram.com/galleriacastelbarco/?hl=it https://www.facebook.com/galleriacastelbarco/
Putti As Fishermen, Francois Boucher (paris, 1703 - 1770) School Of

Putti As Fishermen, Francois Boucher (paris, 1703 - 1770) School Of

French School of Francois Boucher (Paris, 1703 - 1770) Putti as Fishermen (Allegory of Water) 18th century Oil on canvas 65 x 146 cm. - In frame 77 x 157 cm. Full details (click HERE) We present a splendid painting, the work of a French painter of the school of Francois Boucher (Paris, 1703 - 1770), depicting a triumph of the canons of the Rococo period, the lightest and at the same time most elegant of styles, capable of interpreting in painting the peculiarities of French society of the Ancien Régime. Baroque painting with its exuberance and massive forms could not represent the aristocracy, which instead saw in luminosity, decorativism, grace and idyll a more prestigious and representative language. The composition, which with its elongated shape suggests it was created as an overpainting, is taken from a composition entitled ‘Putti as Fishermen’, made in 1744 by François Boucher, one of whose versions is currently in the Museum of Fine Arts, Houston (https://emuseum.mfah.org/objects/47234). In an idyllic landscape view overlooking a stretch of water, three putti are depicted naked and engaged in a playful fishing scene. A putto, in a central position, stands on a bundle of hay, holding a fishing rod, and is immortalised with a proud expression after catching a small fish. On the left is a cherub turned in profile to the right, almost lying on the rock, in the act of showing a small fish to his companion, while the third, on the right, partially immersed in the water, holds a fishing rod, his gaze fixed on the observer. The scene is full of movement and light and captures the carefree joy of childhood and the generosity of nature. The soft, rounded forms of the putti, the delicacy of the stroke and the pastel palette are characteristic of Boucher's Rococo style. Preponderant is the feeling of gracefulness offered by the scene, emphasised by the graceful poses of the protagonists, defined with light, luminous colours, and enhanced by the beautiful play of chiaroscuro. Boucher casually uses the pastel range of his palette and naturally composes the attitudes of his figures. To this type of subject, symbol par excellence of the frivolous pleasures of life to which the aristocratic class yearned, Francois Boucher and his workshop devoted a large part of their activity, thanks to the great fame of the master and the copious requests from collectors. Our work, chronologically placed in the second half of the 18th century, can be attributed to a pupil or studio assistant of the French painter. ADDITIONAL INFORMATION: The painting is completed by an attractive gilded wooden frame and 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. 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/