PAINTINGS ONLINE | ANCIENT AND CONTEMPORARY ART GALLERY - Page 5

Studio, 1993

Mixed media on paper. On the back, the artist's signature, the title, the date and a dedication to a friend. Caccioni, an artist who was born, trained and still lives in Bologna, is one of the protagonists of a generation that has now reached a definitive linguistic maturity and occupies a prominent space within the contemporary artistic panorama. His research mainly uses unusual materials such as acetates, PVC and, more recently, stage backdrops of nineteenth-century theatrical works, on which he intervenes by painting shapes drawn from a personal memory and from suggestions coming from different cultures and historical periods. A recurring element in Luca Caccioni's work is writing, a self-signifying sign that designs the work and is capable of recounting thoughts; working by superimposition, the images are constructed by adding or subtracting color on the various supports. Work in frame.

Studio Still life 1992

Mixed media on paper. Title at the bottom. On the back the artist's stamp with signature, title and date. Caccioni, an artist who was born, trained and still lives in Bologna, is one of the protagonists of a generation that has now reached a definitive linguistic maturity and occupies a prominent place within the contemporary artistic panorama. His research mainly uses unusual materials such as acetates, PVC and, more recently, stage backdrops of nineteenth-century theatrical works, on which he intervenes by painting shapes drawn from a personal memory and from suggestions coming from different cultures and historical periods. A recurring element in Luca Caccioni's work is writing, a self-signifying sign that designs the work and is capable of recounting thoughts; working by superimposition, the images are constructed by adding or subtracting color on the various supports. Framed work

Oil on Canvas

Oil on canvas. The young and beautiful girl, haloed, has as her only iconographic attribute the palm branch, symbol of martyrdom; dressed soberly but with refinement, she has on her head a light white veil, symbol of her consecration as bride of Christ. The painting, restored and relined, is presented in an ancient frame.

Oil on canvas. In the large classical landscape of Nordic style, with thick vegetation and a torrential river, three figures are depicted on the path on the left that evoke the biblical characters of the Flight into Egypt: a man leads a donkey, on which sits a woman, wrapped in a blue cloak, holding her little son in her arms. Restored and relined, the painting is presented in an early 1900s frame.

Family Lunch 1802

Oil on canvas. Signed and dated lower left. Genre scene of popular taste, it portrays a bourgeois family preparing to have lunch: the father, already seated at the table, is about to bless the meal, while his wife and son, standing, follow the prayer. Little is known about Charles Christophe Coventry, an English painter of whom we know mainly genre scenes of popular settings, such as this one. Restored and relined, the painting is presented in a period frame.

Fantastic Vision with Figures

Oil on canvas. The signature of the painter Franco Rognoni appears at the bottom right, but the work has not been recognized as authentic by the artist's archive. It also well reflects Rognoni's pictorial style, characterized by figures, both men and houses drawn in black with a few precise strokes, and then filled with color that fades into the background. In the canvas, an elegant male figure appears, leaning impassively and indifferently on the flowered railing of a terrace overlooking a city; below him, at the bottom left, another face emerges (the same man?) wearing a military helmet and placed on a darker, less sunny city background: whether it is the man at war who recalls the time of peace or vice versa, the reference to the alternation in life of peace and war, of serenity and drama is evident. The work is presented in a frame.

Oil on canvas. Central European school of the 18th century. The distinguished lady, who flaunts a dress enriched with bows and lace, is seated at her desk and holds a letter in her hand; at the bottom left an envelope bears traces of a name, unfortunately illegible, a device to make the portrayed character known. Restored and relined, the painting is presented in an early 1900s frame.

Oil on canvas. This is an ancient copy of the work by Giovanni Battista Salvi, known as Sassoferrato (1609 -1685), now preserved in the Galleria Nazionale dell'Umbria (Palazzo dei Priori), which was previously exhibited for a long time in the church of San Severo in Perugia. Sassoferrato's models of Madonnas were very successful and were therefore widely copied and replicated. The painting, restored and relined, is presented in a period frame.

Oil on canvas. French school of the second half of the 18th century. This bucolic landscape of verdant countryside opens up in the background with fields and blue mountains. In the foreground, near an imposing fountain consisting of a monumental marble base on which rests an amphora vase, a shepherd and a shepherdess are engaged in conversation, while they rest together with their herd of cows and sheep. Restored and relined, the painting is presented in a late 19th century gilded frame.

Untitled, 2003

Mixed media on paper. Signed and numbered on the back. Copy No. 40 of an edition of 350, of which the first 50 copies are numbered and signed by the artist. These works were created as an attachment to the Catalogue of the 1040th exhibition at the Galleria del Cavallino -Venice, held in October 2003 and dedicated to the works of Paolo Patelli, as indicated in the colophon of the brochure, where there is a further signature of the artist and dedication. Paolo Patelli, an artist of Istrian origins, expresses the joy of painting, creating works that are enriched by his passion for music. The rhythmic spirit of the artist's style captures movements, translating them into a visual language that breaks the mold of traditional artistic models, making every line and every brushstroke visible, leaving a wide exposure of the paper surface.

Burnished and wrought copper plate, with lighter spot decorations, embossing and holes, mounted on a red-stained plywood panel.

Oil on canvas. Italian school of the 18th century. The man, dressed in black with a white collar, poses in front of a shelf on which rest some objects: a crucifix, a bell, an inkwell, which identify the man as a magistrate. The painting has been restored and relined. It is presented in a period frame.

Bas-relief in wood, fabric and white tempera, evoking a stylised Crucifix. Mounted on a panel and presented in a display case.

Oil on canvas. Northern Italian school of the 17th century. Veronica, a character who appears during the Passion of Christ, was the pious woman who, following Jesus on his climb to Calvary with the cross on her shoulders, cleaned his face with a cloth: according to tradition, Jesus' face remained imprinted on the cloth. Therefore the saint is iconographically depicted while presenting this cloth, in memory of the miracle received following her charitable gesture, as in this painting, where on the left in the background appear the three Crosses of Golgotha, towards which Veronica turns, to remember that she was a witness to the death of Jesus. Already restored and relined, probably in the late 19th - early 20th century, the canvas presents further small losses of color and stains. It is presented in an antique regilded frame.

Pastoral Scene with Saint and Lamb

Oil on canvas. Signed lower right. In the large painting, a young woman with a halo is encircling the neck of a lamb with a wreath of flowers; the two figures are placed in a meadow full of flowering bushes, part of a verdant plain that extends to the mountain peaks in the distance. The girl, completely dressed in red, wears a halo on her head: this symbol and the presence of the lamb refer to Saint Agnes, traditionally depicted with this animal symbol of purity; the red of her dress may indicate the martyrdom of the young girl. It is the landscape setting that makes the depiction of the saint particular and unusual, who becomes the central element of the large landscape. Giovanni Buffa, a painter, sculptor and decorator active in Milan, became famous above all for his historiated stained glass windows, created alone or in collaboration with the famous company Beltrami & C. – Artistic stained glass, an almost absolute protagonist of the very brief season of national Liberty in this sector, specialized in the execution of stained glass windows of both a sacred and profane nature. Buffa contributed in particular with the creation of preparatory cartoons for many stained glass windows of the Milan Cathedral and other national churches. His pictorial production includes several portraits of people, especially Milanese, but also some genre scenes in exteriors, in cities or in naturalistic settings.

Oil on canvas. At the center of the scene a king kneels in a contrite attitude before an old man, who bends toward him with an attitude of benevolent welcome; around him the soldiers of the entourage and other dignitaries assist, participating and obsequious. It could be the biblical episode of King David's repentance before the prophet Nathan, who opened his eyes to his sin of concubinage with Bathsheba and the murder of her husband Uriah, and then assures him of the Lord's forgiveness. Restored and relined, the painting is presented in a period frame, composed of ancient elements, with several missing parts.