Art

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23 cm 238 cm

12 cm 275 cm

0 cm 60 cm

26 cm 52 cm
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Art

In our catalog you can find Objects and Works of art d'Art from the XVI ° century up to our days.

the ancient Art, icons, contemporary art, ancient art, art of the'800 and '900


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Allegory of Pietro Bardellino
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ARTPIT0001736

Allegory of Pietro Bardellino

Allegorical scene with putti playing,1780 ca.

ARTPIT0001736

Allegory of Pietro Bardellino

Allegorical scene with putti playing,1780 ca.

Oil on canvas. In the scene, an oval shape, and clearly conceived as sovraporta, some children chubby playing with kids. The work is attributed to Pietro Bardellino, the neapolitan painter, in the production of which are found numerous allegorical scenes, similar, taking over the French fashion - in particular in the '700 is reminiscent of the inventions of François Boucher - use the theme of childhood to embody allegories of the renaissance and the baroque. The Bardellino was particularly active in the interior decoration of the residences of the noble neapolitan, and, in fact, there are several works attributed to him that had such a function, often of sovraporta. The allegorical meaning of them, however, is no doubt, and perhaps intentionally susceptible to different interpretations depending on the client and of the use in the villa. In the scene some of the putti make music, each with a characteristic instrument of popular music (flute, castanets, tambourine, and the triccheballacche), in a typical allegory of hearing. To appreciate the pleasantness of the representation, light and bright, where stand of Bardellino, the research of colours is so slight as to achieve color effects crayon, the drastic reduction of the contrasts of chiaroscuro, the accuracy in the fading outlines of the figures. The painting, restored and ritelato, is presented in the frame of the neapolitan contemporary (the last quarter of the EIGHTEENTH century) , decorated with rocaille. In carved wood and has a floral motif at the crown, which culminates in a cornice with shell. The frame is lacquered, with parts carved golden mecca.

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6,400.00€

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Allegory of Pietro Bardellino
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ARTPIT0001735

Allegory of Pietro Bardellino

Allegorical scene with putti and goats,1780 ca.

ARTPIT0001735

Allegory of Pietro Bardellino

Allegorical scene with putti and goats,1780 ca.

Oil on canvas. In the scene, an oval shape, and clearly conceived as sovraporta, some children chubby playing with kids. The work is attributed to Pietro Bardellino, the neapolitan painter, in the production of which are found numerous allegorical scenes, similar, taking over the French fashion - in particular in the '700 is reminiscent of the inventions of François Boucher - use the theme of childhood to embody allegories of the renaissance and the baroque. The Bardellino was particularly active in the interior decoration of the residences of the noble neapolitan, and, in fact, there are several works attributed to him that had such a function, often of sovraporta. The allegorical meaning of them, however, is no doubt, and perhaps intentionally susceptible to different interpretations depending on the client and of the use in the villa. The same scene is proposed here is often found in the production of Bardellino, even in a different format, sometimes described in the series of allegories of the senses, and in this case would be shown the Touch, or as an allegory of the elements, and therefore it would be of the Earth. In any case, we appreciate the pleasantness of the representation, light and bright, where stand of Bardellino, the research of colours is so slight as to achieve color effects crayon, the drastic reduction of the contrasts of chiaroscuro, the accuracy in the fading outlines of the figures. The painting, restored and ritelato, is presented in the frame of the neapolitan contemporary (the last quarter of the EIGHTEENTH century) , decorated with rocaille. In carved wood and has a floral motif at the crown, which culminates in a cornice with shell. The frame is lacquered, with parts carved golden mecca.

Request

6,400.00€

Request
Allegory of Pietro Bardellino
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ARTPIT0001734

Allegory of Pietro Bardellino

Allegorical scene with putti and flowers,c.1780

ARTPIT0001734

Allegory of Pietro Bardellino

Allegorical scene with putti and flowers,c.1780

Oil on canvas. In the scene, an oval shape, and clearly conceived as sovraporta, some children chubby playing with kids. The work is attributed to Pietro Bardellino, the neapolitan painter, in the production of which are found numerous allegorical scenes, similar, taking over the French fashion - in particular in the '700 is reminiscent of the inventions of François Boucher - use the theme of childhood to embody allegories of the renaissance and the baroque. The Bardellino was particularly active in the interior decoration of the residences of the noble neapolitan, and, in fact, there are several works attributed to him that had such a function, often of sovraporta. The allegorical meaning of them, however, is no doubt, and perhaps intentionally susceptible to different interpretations depending on the client and of the use in the villa. In the scene some of the cherubs, wearing hats, sun visors, playing with the flowers that overflow from large pots on their shoulders. The flowers are mostly used as an allegory of the sense of smell. To appreciate the pleasantness of the representation, light and bright, where stand of Bardellino, the research of colours is so slight as to achieve color effects crayon, the drastic reduction of the contrasts of chiaroscuro, the accuracy in the fading outlines of the figures. The painting, restored and ritelato, is presented in the frame of the neapolitan contemporary (the last quarter of the EIGHTEENTH century) , decorated with rocaille. In carved wood and has a floral motif at the crown, which culminates in a cornice with shell. The frame is lacquered, with parts carved golden mecca.

Request

6,400.00€

Request
Bernard Aubertin
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ARTCON0000820

Bernard Aubertin

Dessin de feu,1974

ARTCON0000820

Bernard Aubertin

Dessin de feu,1974

Application of burnt matches on cardboard, metal. At the back there is a label of the Gallery Centre of Brescia, with the data of the work and the artist's signature. Aubertin is considered to be the "painter monochrome", that focused his artistic research on the color red, intended as fire, energy: starting from 1958 he began to create his famous monochrome canvases of red, the so-called Tableaux-Feu (final fire), created with a variety of items, nails (Tableau Clous), iron wire (Tableaux Fil de Fer), matches (Parcours d Allumettes), and a variety of materials, from the candles, to the networks of iron. In his metaphysical conception of painting, through the red he intended to transpose on the canvas the energy of the soul, the spiritual being. Starting from the years '60 Aubertin introduced into his repertoire the fire, the physical manifestation of its red colour. Produced so many abstract compositions using matchsticks which, when turned on, created a spontaneous variation generated by the nature of the flame. Between the '80s and the '90s, his artistic production, he turned to performances in which he himself gave to the flames the pianos and cars, while in recent years the color red of the monochrome was replaced by the white, black, and gold. The work is accompanied by Authentic issued by the Archive of works by Bernard Aubertin, with No Storage DFEA47-1000237523.

Request

2,800.00€

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Bernard Aubertin
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ARTCON0000819

Bernard Aubertin

Alvéoles,1990

ARTCON0000819

Bernard Aubertin

Alvéoles,1990

Cardboard painted on the table. The cardboard, painted red, is worked to evoke the cells of a beehive; it is applied on a table painted black. To the rear there signature, title and date of the work. Aubertin is considered to be the "painter monochrome", that focused his artistic research on the color red, intended as fire, energy: starting from 1958 he began to create his famous monochrome canvases of red, the so-called Tableaux-Feu (final fire), created with a variety of items, nails (Tableau Clous), iron wire (Tableaux Fil de Fer), matches (Parcours d Allumettes), and a variety of materials, from the candles, to the networks of iron. In his metaphysical conception of painting, through the red he intended to transpose on the canvas the energy of the soul, the spiritual being. Starting from the years '60 Aubertin introduced into his repertoire the fire, the physical manifestation of its red colour. Produced so many abstract compositions using matchsticks which, when turned on, created a spontaneous variation generated by the nature of the flame. Between the '80s and the '90s, his artistic production, he turned to performances in which he himself gave to the flames the pianos and cars, while in recent years the color red of the monochrome was replaced by the white, black, and gold. The work is accompanied by authentic issued by the Archive works, Benard Aubertin, N. Storage MAR09-1000230523

Request

1,200.00€

Request
Antonio Bellucci,the scope of
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ARTPIT0001742

Antonio Bellucci,the scope of

Diana and Endymion

ARTPIT0001742

Antonio Bellucci,the scope of

Diana and Endymion

Oil on canvas. The subject of the picture, taken from the Eroidi of Ovid, and describes the young shepherd Endymion plunged in sleep while it is being visited by Diana, the goddess as a representation of the Moon, that fell to him, went to visit every night. For style and ways of painting, the work refers to the venetian painter Antonio Bellucci: born in Pieve di Soligo (TV) is then formed in Venice, under the influence of Pietro Liberi, Antonio Zanchi and Andrea Celesti, the most important artists in the city on the lagoon in the last decades of the century. The brilliant and rapid career took him later to the imperial court of Vienna, and then at the different principalities habsburg (Dusseldorf, Mainz), and finally to London (his works in Buckingham Palace), before returning to the hometown where he ended his life. He was a typical exponent of the decorative painting of the baroque horse of two centuries. In his vast compositions spectacular - mythological, allegorical, biblical - and in his portraits of nobles, loved to indulge in a sumptuous staging, making a show of certain complicated drapery clinging, of a pungent evidence. In Germany, his painting began to assume an aspect more and more polished until it becomes of an icy luster neoclassical. The work, which have already been restored and ritelata, currently has a small tear with a drop of color at the bottom. It is presented in a stylish setting.

Reserved

1,700.00€

Reserved
Francesco Pogliaghi, Could Be Inaugurated
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ARTCON0000811

Francesco Pogliaghi, Could Be Inaugurated

Abstract composition

ARTCON0000811

Francesco Pogliaghi, Could Be Inaugurated

Abstract composition

Mixed technique on metal plate (floor to shelf metal). A large central inscription "Nature", applied to the collage, is preceded by a letter's stroke, who turns the word "Snature", and is surrounded by the words, painted and engraved in color. Born in Madrid and then he moved often with his family throughout Europe, thanks to the nomadic family of this young painter and a street artist has been able to get in contact with the first european manifestations of public art. The meeting with the graffiti dates back to 1996 and fell in love at first sight: the young pogliaghi, could be inaugurated he attends conventions when entering the contact with the most prestigious representatives, both Italian and foreign. His graffiti evolve from year to year, you develop graphically and contaminate more and more of the creative productions of the artist. Pogliaghi, could be inaugurated, he engages, however, with the most various expressive techniques, acquiring a broad and specific knowledge of the processing of the materials used in its production there are illustrations, sculpture, works of the material, and studies of structures, metaphysical, colour experiments. Dominant motif of his productions is always the sign urban you ago design: the sign, the calligraphy, the “tag”, in fact, becomes a picture, a figure, a drawing, a concept.

Request

360.00€

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