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Saint Paul Hermit And Saint Anthony Abbot Oil On Canvas 17th Century
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ARARPI0057281

Saint Paul Hermit And Saint Anthony Abbot Oil On Canvas 17th Century

ARARPI0057281

Saint Paul Hermit And Saint Anthony Abbot Oil On Canvas 17th Century

Oil on canvas. Lombard school. The painting portrays the two saints sitting on rocks in the shadows of leafy trees, while they break bread, in the foreground on the left; Saint Paul is traditionally dressed with animal skins, Saint Anthony Abbot is wearing the habit of the Order and he is holding a prayer book. The two Saints have often been represented together becasue they share many traits: they both lived in the third century, they are both Egyptian, they both left all of their properties very young to devote themselves to a life of complete solitude, living in prayer and poverty. Saint Anthony Abbot has been one of the most famous hermits in the history of the Church. Saint Paul the Hermit lived all of his life in complete solitude in the desert as well, fed only with the bread a raven would regularly bring to him, according to hagiographic narratives. When he was closer to death, Saint Anthony Abbot visited him, with whom he broke bread. In this representation, the landscape context doesn't remind of the desert lands of Egypt, but they are located in a Nordic or Alpine landscape. On the left, there is an eremitical landscape, with some green and a small stream bottom right. The painting, already restored and recanvased, presents evident craquelure. Frame in style.

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7,400.00€

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Scope Of Luca Giordano Oil On Canvas 17th Century
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ARARPI0068518

Scope Of Luca Giordano Oil On Canvas 17th Century

The Deposition Of Christ

ARARPI0068518

Scope Of Luca Giordano Oil On Canvas 17th Century

The Deposition Of Christ

Oiol on canvas. Between 1652 and 1665 Luca Giordano painted the Deposition of Christ for high altar of the Church of Santa Maria del Pianto in Venice, now kept in the Gallerie dell'Accademia in Venice. The piece express well the style of the famous Neapolitan painter, who was extremely prolific and worked in every Italian and European city, marking the passage from baroque to rococo. This was so successful that Giordano's atelier - and probably a other regional artists from Campania or Veneto - were pushed to replicate the painting in numerous copies, to fulfill the requests of other provincial churches or, in a smaller, easel format, for private collectors. The execution of this copies, all great quality, that you can find today scattered around Italy and abroad, seems to be concentrated between the end of 1600 and the first part of 1700. The copy here presented can be included between those, it is attributable to the atelier of the Neapolitan master for the high execution quality. The great scene is striking for the impressive "human bodies ladder", a sequence of twisted bodies in an ascending position: they rise, starting from Mary and John bottom left; they go right for the group with the body of Christ, embraced in an ascending tangle of figures that are laying him down from Cross, it comes back top left to the group of angels that witness it from the clouds under the open skies. The dramatic play of colours and lights is added to the plasticity of the shapes, and follows the same ascending movement: thge figures on the bottom stand out for the bold but dark colours. red and blue on a dark background where even the flesh tones appear dull, grounded; the plastic group on the right is dominated by an almost blinding, but cadaveric, white of the body of Christ, which illuminates the bodies that surround him as well; lastly, the jubilation of angels with pink complexions is projected towards the warm light of the open skies. The painting, restored and recanvased in antique, is presented in an antique gilded frame,

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Painting by Arman 10000 Cendrillons 2003
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ARTCON0000756

Painting by Arman 10000 Cendrillons 2003

10000 Cendrillons

ARTCON0000756

Painting by Arman 10000 Cendrillons 2003

10000 Cendrillons

Mixed technique on canvas. Armand Fernandez, stage name Arman, was born in Nice in 1928. He is remembered as one of the most significant and influential members of the artistic movement 'Nouveau Réalisme', the European declination of the American New Dada. The Nouveau Réalisme was founded in 1960 in France by the critic Pierre Restany. The members of the nouveaux réalistes group tended to see the world as an image from which they could take parts and incorporate them into their works - as they sought to bring life and art closer together. They declared that they had come together on the basis of a new and real awareness of their "collective singularity", meaning that they were together in spite of, or perhaps because of, their differences. But for all the diversity of their plastic language, they perceived a common basis for their work; this being a method of direct appropriation of reality, equivalent, in the terms used by Pierre Restany, to a "poetic recycling of urban, industrial and advertising reality". Artists of Nouveau Réalisme sought out to strip art of previously thought standards that art had to mean something, they could take any object beyond its preconceived notions and present it as itself, and thought it could still be considered art. Many of them also sought to break down the glamorization of artists producing their craft in private, and due to this often times art pieces were produced in public. The work comes from the artist's studio in New York and is certified by the email of Fondation A.R.M.A.N. showing also the file number. Fondation A.R.M.A.N. is currently the only institution having the right to issue certifications for Arman's works. A picture of the painting signed by the artist and showing the file number, title, dimensions and technique is enclosed. On the back of the picture there is the stamp of the Art Gallery Dante Vecchiato which was a reference point for the distribution of Arman's works in Italy in the early 2000.

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10,000.00€

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No Title by Arman Jeté 2003
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ARTCON0000755

No Title by Arman Jeté 2003

Jeté

ARTCON0000755

No Title by Arman Jeté 2003

Jeté

Mixed technique on canvas. Armand Fernandez, stage name Arman, was born in Nice in 1928. He is remembered as one of the most significant and influential members of the artistic movement 'Nouveau Réalisme', the European declination of the American New Dada. The Nouveau Réalisme was founded in 1960 in France by the critic Pierre Restany. The members of the nouveaux réalistes group tended to see the world as an image from which they could take parts and incorporate them into their works - as they sought to bring life and art closer together. They declared that they had come together on the basis of a new and real awareness of their "collective singularity", meaning that they were together in spite of, or perhaps because of, their differences. But for all the diversity of their plastic language, they perceived a common basis for their work; this being a method of direct appropriation of reality, equivalent, in the terms used by Pierre Restany, to a "poetic recycling of urban, industrial and advertising reality". Artists of Nouveau Réalisme sought out to strip art of previously thought standards that art had to mean something, they could take any object beyond its preconceived notions and present it as itself, and thought it could still be considered art. Many of them also sought to break down the glamorization of artists producing their craft in private, and due to this often times art pieces were produced in public. The work comes from the artist's studio in New York and is certified by the email of Fondation A.R.M.A.N. showing also the file number. Fondation A.R.M.A.N. is currently the only institution having the right to issue certifications for Arman's works. A picture of the painting signed by the artist and showing the file number, title, dimensions and technique is enclosed. On the back of the picture there is the stamp of the Art Gallery Dante Vecchiato which was a reference point for the distribution of Arman's works in Italy in the early 2000.

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5,200.00€

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