Pesquisando por: "Study on a Madonna" - Fotoarena - Agência de fotojornalismo

akg8555419 MAGATTI, PIETRO ANTONIOVarese 1691 - 1767Two Paintings: Cain and Abel; Sacrifice of Isaak. Each oil on canvas. Relined. 81 x 64,5cm. Frame/Pedestal: Framed. Certificate:M. Pulini, Bologna, after examination of the original on 24. Januar 2020.Provenance:Private ownership, Italy.The painter Pietro Antonio Magatti was born in Varese at the end of the 17th century and received his artistic training in Bologna, where he studied the works of Giacomo Cavedone and Giovanni Gioseffo Dal Sole. In 1725 he made the ""Madonna offering the Rosary to St. Dominic"" for the Chapel of the Rosary in the Church of San Vittore in Varese. This, his first independent altarpiece, combines the elements of Emilian painting and the light effects of Lombard painting. The following commissions, mostly in an ecclesiastical context, gradually show a greater degree of lightness in execution: the paintings are executed with broad and transparent brushstrokes, with an increasingly clear and delicate colouring.From the 1740s onwards, Magatti played a leading role in the artistic milieu of Varese, where he is considered the most important painter of the 18th century.The present oil paintings on canvas were created during this period. These two works, which depict two of the most dramatic scenes of the Old Testament, are the latest additions to the artist's oeuvre: we have the expert Massimo Pulini to thank for this enrichment. Due to similar subjects and dimensions, the two paintings are to be understood as counterparts, but the name of the patron is still unknown. In the paintings the artist summarises the particularities of his unmistakable style: In a small space, the two scenes shine in bright, almost gaudy colours and soft shapes. Magatti gives the paintings different shades of colour, which probably allude to opposing meanings. In the case of Cain and Abel, the colours are rather warm, perhaps to emphasise the earthly, bloody and wild event, whereas in the counterpart the nuances are rather cold, so that they correspond to the colours of heaven and thus to the divine salvation of Isaac thanks to the proof of faith of his father Abraham..

akg8555421 MAGATTI, PIETRO ANTONIOVarese 1691 - 1767Two Paintings: Cain and Abel; Sacrifice of Isaak. Each oil on canvas. Relined. 81 x 64,5cm. Frame/Pedestal: Framed. Certificate:M. Pulini, Bologna, after examination of the original on 24. Januar 2020.Provenance:Private ownership, Italy.The painter Pietro Antonio Magatti was born in Varese at the end of the 17th century and received his artistic training in Bologna, where he studied the works of Giacomo Cavedone and Giovanni Gioseffo Dal Sole. In 1725 he made the ""Madonna offering the Rosary to St. Dominic"" for the Chapel of the Rosary in the Church of San Vittore in Varese. This, his first independent altarpiece, combines the elements of Emilian painting and the light effects of Lombard painting. The following commissions, mostly in an ecclesiastical context, gradually show a greater degree of lightness in execution: the paintings are executed with broad and transparent brushstrokes, with an increasingly clear and delicate colouring.From the 1740s onwards, Magatti played a leading role in the artistic milieu of Varese, where he is considered the most important painter of the 18th century.The present oil paintings on canvas were created during this period. These two works, which depict two of the most dramatic scenes of the Old Testament, are the latest additions to the artist's oeuvre: we have the expert Massimo Pulini to thank for this enrichment. Due to similar subjects and dimensions, the two paintings are to be understood as counterparts, but the name of the patron is still unknown. In the paintings the artist summarises the particularities of his unmistakable style: In a small space, the two scenes shine in bright, almost gaudy colours and soft shapes. Magatti gives the paintings different shades of colour, which probably allude to opposing meanings. In the case of Cain and Abel, the colours are rather warm, perhaps to emphasise the earthly, bloody and wild event, whereas in the counterpart the nuances are rather cold, so that they correspond to the colours of heaven and thus to the divine salvation of Isaac thanks to the proof of faith of his father Abraham..

akg8555418 MAGATTI, PIETRO ANTONIOVarese 1691 - 1767Two Paintings: Cain and Abel; Sacrifice of Isaak. Each oil on canvas. Relined. 81 x 64,5cm. Frame/Pedestal: Framed. Certificate:M. Pulini, Bologna, after examination of the original on 24. Januar 2020.Provenance:Private ownership, Italy.The painter Pietro Antonio Magatti was born in Varese at the end of the 17th century and received his artistic training in Bologna, where he studied the works of Giacomo Cavedone and Giovanni Gioseffo Dal Sole. In 1725 he made the ""Madonna offering the Rosary to St. Dominic"" for the Chapel of the Rosary in the Church of San Vittore in Varese. This, his first independent altarpiece, combines the elements of Emilian painting and the light effects of Lombard painting. The following commissions, mostly in an ecclesiastical context, gradually show a greater degree of lightness in execution: the paintings are executed with broad and transparent brushstrokes, with an increasingly clear and delicate colouring.From the 1740s onwards, Magatti played a leading role in the artistic milieu of Varese, where he is considered the most important painter of the 18th century.The present oil paintings on canvas were created during this period. These two works, which depict two of the most dramatic scenes of the Old Testament, are the latest additions to the artist's oeuvre: we have the expert Massimo Pulini to thank for this enrichment. Due to similar subjects and dimensions, the two paintings are to be understood as counterparts, but the name of the patron is still unknown. In the paintings the artist summarises the particularities of his unmistakable style: In a small space, the two scenes shine in bright, almost gaudy colours and soft shapes. Magatti gives the paintings different shades of colour, which probably allude to opposing meanings. In the case of Cain and Abel, the colours are rather warm, perhaps to emphasise the earthly, bloody and wild event, whereas in the counterpart the nuances are rather cold, so that they correspond to the colours of heaven and thus to the divine salvation of Isaac thanks to the proof of faith of his father Abraham..

akg8555420 MAGATTI, PIETRO ANTONIOVarese 1691 - 1767Two Paintings: Cain and Abel; Sacrifice of Isaak. Each oil on canvas. Relined. 81 x 64,5cm. Frame/Pedestal: Framed. Certificate:M. Pulini, Bologna, after examination of the original on 24. Januar 2020.Provenance:Private ownership, Italy.The painter Pietro Antonio Magatti was born in Varese at the end of the 17th century and received his artistic training in Bologna, where he studied the works of Giacomo Cavedone and Giovanni Gioseffo Dal Sole. In 1725 he made the ""Madonna offering the Rosary to St. Dominic"" for the Chapel of the Rosary in the Church of San Vittore in Varese. This, his first independent altarpiece, combines the elements of Emilian painting and the light effects of Lombard painting. The following commissions, mostly in an ecclesiastical context, gradually show a greater degree of lightness in execution: the paintings are executed with broad and transparent brushstrokes, with an increasingly clear and delicate colouring.From the 1740s onwards, Magatti played a leading role in the artistic milieu of Varese, where he is considered the most important painter of the 18th century.The present oil paintings on canvas were created during this period. These two works, which depict two of the most dramatic scenes of the Old Testament, are the latest additions to the artist's oeuvre: we have the expert Massimo Pulini to thank for this enrichment. Due to similar subjects and dimensions, the two paintings are to be understood as counterparts, but the name of the patron is still unknown. In the paintings the artist summarises the particularities of his unmistakable style: In a small space, the two scenes shine in bright, almost gaudy colours and soft shapes. Magatti gives the paintings different shades of colour, which probably allude to opposing meanings. In the case of Cain and Abel, the colours are rather warm, perhaps to emphasise the earthly, bloody and wild event, whereas in the counterpart the nuances are rather cold, so that they correspond to the colours of heaven and thus to the divine salvation of Isaac thanks to the proof of faith of his father Abraham..

akg7913108 ITTENBACH, FRANZ1813 Königswinter - 1879 DüsseldorfMater Christi. Mixed media on wood. 30 x 20cm. Signed and dated lower left: F. Ittenbach / 1875. Framed. Provenance: Private collection, Rhineland. Although it is known that Ittenbach made different versions of his motifs, one rarely has the possibility to compare two versions of the same subject directly. Here, we are able to present one of his last Madonnas that he created in his inimitable, acribic technique. Due to this technique he already established his reputation during his lifetime. As different as they may be in terms of size and technique - one of them monumentally on the basis of a watercolour, the other in the style of a small house altar with elaborately embossed gold ground - both of them reflect the model of Italian painting which influenced the art of the 19th century in a sustained manner. Early on Franz Ittenbach, who studied at the Düsseldorf Academy under Hildebrandt and son, received the order for painting the neo-Gothic church St. Appolinaris in Remagen. In preparation for these extensive and programmatic works he traveled to Rome together with Schadow from 1839 until 1842. There he joined the Nazarene movement. The paintings in Remagen kept him occupied for the entire decade and were the basis for his reputation as a master of religious painting. Consequently he specialized in religious motifs and particularly in the depcition of Mary. ""His small devotional pictures with individual figures of a saint or Sacra Conversazione depictions were appreciated by the contemporary critics and they were also thought to be Ittenbach's true talent. The simplicity of his motifs, in the style of Italian models, and their composition in connection with the contoured shaping and the use of non-vibrant colours met the contemporary concept of an expression of deep religiosity. Therefore, he was already appreciated during his lifetime."" (quoted after: Otto, Andreas: Franz Ittenbach. In: Lexikon der Düsseldorfer Malerschule. ed. vom Kunstmuseum Düsseldorf and Galerie Paffrat, Düsseldorf, Munich 1998, vol. 2, p. 164f.).