Madonna with Child and St. Anthony from Padua 19th Century

Giovanni Boni Oil On Canvas 19th Century

Siege Scene

Oil on canvas. Outside the fortifications of a city, a commander, surrounded by his soldiers, is about to light the fuse of the cannon. The army defends the citadel outside the walls and the soldiers scan the horizon looking downwards: this leads us to place the scene on the fortifications of a city, in particular those of Genoa, that rise on the mountains behind it and from which the Genoese defended the city from attacks from the sea; the Genoa setting is also supported by the banner that flies over the walls, the Saint George Cross (red cross on a white background), flag of the Republic of Genoa. The shape of the armor, weapons and clothing would refer to the siege of Genoa in 1522. It is therefore the nineteenth-century representation of a historical episode, which is then part of that pictorial production widespread in Italy in the nineteenth century, inspired by the new historical novel popular in literature. On the back of the frame there is the name G. Boni, together with a number that refers to participation in an official exhibition. Giovanni Boni was a pupil of the Brera Academy, in particular a follower of Giuseppe Sogni, an artist who was among the first to favour historical painting in its innovative romantic declinations. Not much is known about Boni, neither from a biographical point of view nor from his production. Of his certain attribution we know only the Nude of Man (painted Academy) with which he won the first prize for the Scuola del Nudo in Brera in 1852. The piece expresses the figures and the pathos of the scene with expressive efficiency; the characters in the foreground are very well characterized in their poses, expressions, in the details of the clothes and weapons, while the other figures fade into the background, suggesting the presence of a large army. The painting, still on the first canvas, shows small widespread losses of colour. It is presented in a frame in style.

Still Life with Flowers Oil on Canvas Italy XVII Century

Oil on canvas. In the beautiful composition you can see, resting on an inlaid wooden sideboard, a basket full of cherries, some of which are scattered on the top, and a plate full of red currants, mixed with leaves and a few cherry blossoms. A goldfinch rests on the handle of the basket; to frame the composition, on the right a large bouquet of multicolored flowers in a vase, on the left a red curtain. The bright colors of the fruits, the flowers and the curtain stand out, while the support cabinet blends into the dark background, as does the little bird, distinguishable from the dark background only by the white plumage on the wings and the red outline of the eyes. The work is part of the large 17th century Emilian production of this highly decorative type of subject. The painting, restored and relined, has a marked crack and drops of color along the edges.

Adoration of Jesus Child Oil on Canvas Italy XVII Century

Oil on canvas. Northern Italy school. The depiction of the Nativity is seen here as a contemplative moment of the Holy Child, by Mary and Joseph, accompanied by little angels. The pictorial ways resume those of widely replicated models, starting from Correggio, from Barocci, to arrive at the numerous versions of Gherardo delle notte, or the Flemish painter Gerard Von Honthorst, representative of tenebrism, a pictorial current that played on strong contrasts of darkness and light, light and dark. In this work too, the light radiated by the Baby Jesus illuminates the figures around him and makes them emerge from the surrounding darkness. The restored and relined work is presented in a 19th century frame.

The Monk's Lunch Oil on Canvas Genoese School Italy XVIII C

The Monks Lunch

Oil on canvas. Genoese school of the eighteenth century. Inside a large room with arched windows opening onto the street, a group of friars seated on the ground are sharing a simple meal, placed on a white cloth. The scene refers to the sphere of Alessandro Magnasco known as Lissandrino (1667 -1749), a Genoese artist considered one of the most original painters of the Italian eighteenth century, who distinguished himself in popular genre painting and, in particular, in the production of scenes from the life of Capuchin or Camaldolese friars engaged in the most varied activities, from studying in the library to confession, from the work of sharpeners or carpenters in the convent workshops to the simple recollection around the fire: in these works you can appreciate all the expressive freedom of the artist\'s brush. moves on the canvas with quick touches to describe flames, fireplaces, cats, books, dogs, poor bowls, lenses, books, poor patched clothes, chairs and stools, in short, a whole daily world of gestures and things built with a very special and unmistakable technique, made of a mixture of lively color and almost all played on monochrome, on which a few, skilful strokes of light descend to give shape and consis tence to the bony figures of the monks. The author of the work proposed here was certainly trained in the Magnasco area and was inspired by his style, although it is more sedate, without the flashes and interpretative freedom, often irreverent or ironic, towards the figures of the friars; he was able to take up the play of chiaroscuro, lights and shadows, which flow from a monochrome in the shades of browns, still creating a work of excellent pictorial quality. Restored and relined, the painting is presented in a gilded frame from the early 1900s.