PAINTINGS ONLINE | ANCIENT AND CONTEMPORARY ART GALLERY

Female Figure in the Garden

Oil on panel. Signed lower right. Daughter of the painter Giuseppe Bisi, Fulvia became known for her landscapes and outdoor scenes. She developed her own personal style, moving from a romantic, veristic landscape to a style characterized by short brushstrokes but with a particular attention to the interplay of light and color. This small work, depicting a young woman intent on sewing while leaning against a garden balustrade, is stylistically part of her late production, featuring the rapid definition of the figure and the setting, highlighting the effects of light and color. The work is presented in a late 19th-century frame.

Trains 2002

Photolithography. On the back is the signature and number 59, from a series of 200 pieces. The series was created to mark the opening to the public of the Dante station on the Vanvitelli-Dante section of Line 1 of the Naples Metro. Jannis Kounellis, an Italianized Greek artist and exponent of "Arte Povera," was fascinated by trains from a young age: an interest that would later fuel his affinity with the work of his Greek-born colleague Giorgio de Chirico. He speaks of "de Chirico's little train crossing the Piazza in Turin," referring to the artist's use of this motif as a metaphor for a journey into the unconscious. Kounellis himself, born in the port city of Piraeus, was also drawn to the ideas of travel and movement, and used model trains in several of his works: just like de Chirico's use of the same element, for Kounellis too the train becomes a symbol of odyssey and discovery, a symbol of something that could transport us into the unknown.

Female Figures

Oil on masonite. Signed lower right. From the Campari company collection. Leonardo Stroppa, a painter from Turin, created many figurative subjects, as well as landscapes and floral compositions, often using watercolors or, even when using oil paints, choosing soft palettes and delicate pastel nuances. These, combined with broad brushstrokes and soft edges, give his works a touch of lightness. His figurative subjects include noble figures, such as these two elegant society ladies, engaged in amiable and composed conversation in their drawing room, but also popular figures and scenes of city life, both indoors and outdoors. The work is presented in a frame.

Ca' Granda University of Milan

Oil on canvas. Signed lower right. Attilio Melo, an established portraitist active in Milan, was also a landscape painter, sometimes of foreign lands, but always favoring the landscapes of his homelands and inspirations, Milan and Venice. In this view, he depicts the façade of the Ca' Granda, the University of Milan. His distinctive style features long brushstrokes, almost like streaks of color, creating a striking chromatic atmosphere around the elements or figures. Presented in a frame.

Female Figure with Glass

Oil on hardboard. Signed lower right. From the Campari corporate collection, the elegant lady holding a glass likely pays homage to the renowned aperitif and beverage company. Leonardo Stroppa, a painter from Turin, created many figurative subjects, as well as landscapes and floral compositions, often using watercolors or, alternatively, oil paints. He employed soft palettes and delicate pastel nuances, which, combined with broad brushstrokes and soft edges, give his works a touch of lightness. The work is presented in a frame.

Padua, the Basilica of Saint Anthony

Oil on masonite. Signed lower right. From the Campari company collection. Leonardo Stroppa, who painted primarily figurative subjects and everyday scenes, using soft, nuanced colors, also created several landscapes and cityscapes, enlivened by figures. This work is part of a series of views of famous monuments in important Italian cities, painted with earthier colors (browns and greens stand out) and a more textured feel. The work is presented in a frame.

Untitled 1984/86

Oil on canvas. Signature and date of creation on the back. From the Campari corporate collection. Giorgio Nannei, an artist originally from Parma but active mainly in Milan, creates abstract works with geometric figures. The work is presented in a display frame.

Ligurian Houses

Oil on cardboard. Signed lower right. On the back is a label with a further signature, the address of her studio at Via Monti 54 in Milan, and the title. Cesara Mottironi was particularly active in promoting the spread of painting among women during the interwar years. Cesara, known as Cesarina Mottironi, was an artist who devoted much of her time to teaching oil and watercolor painting, creating and developing specialized schools. Her studio on Via Vincenzo Monti was always open to those who wanted to learn to paint. She was a particularly strong advocate for women's emancipation: as far as we know, her students were almost all women, whom she often introduced to the public and critics. Mottironi also lived and worked extensively in Camogli, capturing several Ligurian views and vistas, such as the one shown here. The work is presented in a frame.

View of Florence

Oil on masonite. Signed lower right. From the Campari company collection. Leonardo Stroppa, who painted primarily figurative subjects and everyday scenes, using soft, nuanced colors, also created several landscapes and city views, enlivened by figures. This work is part of a series of views dedicated to famous monuments in important Italian cities, rendered in earthy colors (the browns and greens are particularly prominent) and with a strong texture. The work is presented in a frame.

Still Life with Fruit

Oil on canvas mounted on hardboard. Signed lower right. On the back is a label with the artist's studio details in Milan and a stamp from Galleria Bolzani, Milan. Milanese artist Carlo Perindani was known for his views of his beloved Capri, the island where he spent a long time and died, but also for his domestic scenes and still lifes. His compositions, such as the one presented here, are strikingly realistic, with melons, peaches, and pears in vivid, almost photographic colors. Framed.

Oil on canvas. Neapolitan school, late 19th-early 20th century. The scene, set near a well on a terraced square overlooking the Gulf of Naples, with Mount Vesuvius smoking in the background, features a group of women in folk dress enjoying a convivial moment, playing and dancing the tarantella. Lively and colorful, it depicts an episode of Neapolitan folk life, a very popular subject. The painting is presented in a period gilded frame.

Alpe Campo, at the foot of Monte Rosa.

Oil on canvas. Signed lower right. Title and signature on the back. Beautiful view of Alpe Campo in Valsesia, a location considered the "balcony of Monte Rosa" for its splendid, expansive view of the renowned Alpine massif. Riccardo Galli, a Milanese artist devoted to painting and illustration, created several landscapes of the Piedmont Alps, as his family was originally from those areas. His landscape painting draws on Lombard naturalism, inspired by a search for reality, rendered with broad brushstrokes. The work is presented in a mid-20th-century frame.

Alpine Glimpse

Oil on canvas. Signature and location (Monza) at the bottom left. In 1881, Monza-born painter Eugenio Spreafico became interested in Verismo and the Scapigliatura movement, joining the Monza Realist group, which included Mosè Bianchi, Emilio Borsa, and Pompeo Mariani. His focus shifted to landscape painting, particularly of Monza and the Lombardy countryside, and to social themes such as farm work, portraying male and female workers immersed in nature, in a close relationship between figure and landscape. Presented here is a glimpse of an Alpine peak overlooking a large green meadow.

Female Figures

Oil on canvas. Signed lower left. On the back is a further signature, artist's declaration of authenticity, and Galleria 33 stamp. Influenced by Expressionism during his Parisian years, Fantuzzi placed a strong emphasis on the expression of emotions and moods in his works. Color dominates his canvases in its boldest palette, typically cool blues, greens, and purples, creating sometimes violent contrasts. Fantuzzi's primary themes are the loneliness of the metropolis and the difficulty of communicating in interpersonal relationships; he often paints poorly defined figures and eyeless faces. The work is presented in a frame.

Landscape with Pair of Figures

Oil on canvas. Signed lower right. Additional signature on the back. Influenced by his exposure to Expressionism during his Parisian years, Fantuzzi placed a strong emphasis on the expression of emotions and moods in his works. Color dominates his canvases in its boldest palette, usually cool tones of blue, green, and purple, creating sometimes violent contrasts. Fantuzzi's main themes are the loneliness of the metropolis and the difficulty of communicating in interpersonal relationships; he often paints poorly defined figures and eyeless faces. The work is presented in a frame.

Oil on canvas. Northern European School, 18th century. The dramatic scene depicting Mary, John, and Mary Magdalene weeping over the body of Jesus taken down from the cross is composed in reference to Flemish influences, particularly Anthony van Dyck, who enjoyed great success with this subject and produced several replicas and variations with his workshop. The painting presented here has been restored and relined in the past. Currently, it has minor defects due to paint loss and dirt stains.

Mountain Landscape

Oil on canvas. Signature and date (poorly legible, 18...) lower right. Ernst Gustav Doerell devoted himself to landscape painting, particularly favoring glimpses of the Bohemian mountains where he lived. His work features detailed and precise views, realistically capturing the play of light that softens the colors of nature. The work is presented in a period frame.

Still Life with Figure

Mixed media on hardboard. Signed lower right (on the transverse band of the table). Gennaro Picinni, who in his early years created works bordering on surrealism and abstraction, later developed a distinctive style that earned him the nickname "Flemish of Puglia": he uses pure, often textured colors on a Flemish-inspired graphic design, clearly evident in this composition, a still life, behind which, however, appears a faceless human figure, decidedly surreal in nature. The work is presented in a frame.

Black and white photographs. The photographer's stamp is on the back. Vittorio Pescatori was a photographer, but also an artist and writer. He often used photography to illustrate his books or as a base for "painting", spreading almost transparent colors over it. This series, as indicated by the pencil writing on the back, contains six shots taken during his travels in the Maghreb, specifically of the city of Tozeur in Tunisia, where the artist lived for a time, and of Larache, a small town in Morocco. The photographs come from a private collector.

Boats

Oil on panel. Signed at the bottom. Title on the back. Gennaro Picinni, who in his early years created works bordering on surrealism and abstraction, later developed a distinctive style that earned him the nickname "Flemish of Puglia": he uses pure, often textured colors over a Flemish-inspired graphic design. The work is presented in a frame.

Oil on canvas. Flemish School, late 17th-early 18th century. On the back, an old pencil attribution to Nicolaes Berchem (1620-1683), an artist of landscapes with pastoral figures and a painterly style similar to this work, is present. The landscape features a stream at its center, flowing across a plain surmounted by rocky outcrops, through which natural tunnels are opened, traversed by the path. Various wayfarers pass along it: in the foreground, a man wades across the stream with his pack donkey; behind him, a herdsman on horseback with his cows; smaller figures are crossing the rock tunnel on the right. The painting has been restored and relined in the past. It is presented in a period frame.

Landscape with Peasant

Oil on cardboard. Signed lower left, D. Korompai. The painter's Hungarian surname was Italianized to Corompai after 1915. Corompai devoted himself primarily to sacred painting and landscapes, particularly those of the Veneto and Friuli regions, which he depicted with a use of light and transparency that lends a fresh, vibrant atmosphere. The work is presented in a frame.