Artworks

  • Frans Pourbus the younger (seguace di), Ritratto dell'Infanta Margherita, duchessa di Mantova, XVII secolo
    Frans Pourbus the younger (seguace di), Ritratto dell'Infanta Margherita, duchessa di Mantova, XVII secolo
  • Frans Pourbus the younger (seguace di), Ritratto di Vincenzo I Gonzaga, XVII secolo
    Frans Pourbus the younger (seguace di), Ritratto di Vincenzo I Gonzaga, XVII secolo
  • Painting of the face of a woman with long wavy blond hair.
    Giovanni Francesco Barbieri, known as Guercino, Lucrezia, XVII Sec., metà
  • Eugenio Rossi, Rievocazione vecchi banchi fiorentini ed allegoria delle attività moderne, Sec. XX, metà
    Eugenio Rossi, Rievocazione vecchi banchi fiorentini ed allegoria delle attività moderne, Sec. XX, metà
  • Eugenio Rossi, Rievocazione vecchi banchi fiorentini ed allegoria delle attività moderne, Sec. XX, metà
    Eugenio Rossi, Rievocazione vecchi banchi fiorentini ed allegoria delle attività moderne, Sec. XX, metà
  • Tommaso Porta, Paesaggio con figure, Sec. XVIII, prima metà
    Tommaso Porta, Paesaggio con figure, Sec. XVIII, prima metà
  • Tommaso Porta, Paesaggio con figure, Sec. XVIII, prima metà
    Tommaso Porta, Paesaggio con figure, Sec. XVIII, prima metà
  • Marco Ricci (Attribuito a), Paesaggio con ponte, Sec. XVIII inizio
    Marco Ricci (Attribuito a), Paesaggio con ponte, Sec. XVIII inizio
  • Marco Ricci (Attribuito a), Paesaggio con scogliera, Sec. XVIII inizio
    Marco Ricci (Attribuito a), Paesaggio con scogliera, Sec. XVIII inizio
  • Nicolò Rondinelli, Madonna con Gesù Bambino, Primo decennio XVI secolo
    Nicolò Rondinelli, Madonna con Gesù Bambino, Primo decennio XVI secolo
  • Giovanni Antonio Pellegrini, Giuditta con la testa di Oloferne, Primi due decenni del XVIII secolo
    Giovanni Antonio Pellegrini, Giuditta con la testa di Oloferne, Primi due decenni del XVIII secolo
  • An oil painting of the biblical event the Trinity, three angels visiting Abraham at the Oak of Mamre (Genesis 18:1–8). Abraham is cloaked in rich red, while the angels are draped in vibrant blue.
    Antonio Balestra (copy), Abramo e la Trinità, post 1717
  • An oil painting of the biblical event the Trinity, three angels visiting Abraham at the Oak of Mamre (Genesis 18:1–8). Abraham, dressed in darker tones, kneels at the feet of the angels, draped in vibrant blue and gold. Artwork details: Artist: Antonio Balestra (copy). Artwork title: Abramo e la Trinità.
    Antonio Balestra (area), Lot riceve la visita degli angeli a Sodoma, post 1717
  • Philip Peter Roos , detto Rosa da Tivoli, Paesaggio fluviale, Fine XVII – inizio XVIII
    Philip Peter Roos , detto Rosa da Tivoli, Paesaggio fluviale, Fine XVII – inizio XVIII
  • Gaetano Previati, Cavalcata, Fine XIX secolo
    Gaetano Previati, Cavalcata, Fine XIX secolo
  • Giuseppe Carlo Pedretti, Giuseppe ritrova la coppa d’argento, Data Sec. XVIII, metà
    Giuseppe Carlo Pedretti, Giuseppe ritrova la coppa d’argento, Data Sec. XVIII, metà
  • A tempera painting of a king with long brown hair wearing a gold crown and red cape and reflected in reverse like a playing card.
    Renato Guttuso, Re di danari, c.1980
  • An oil and acrylic painting that explores our sense of environment and belonging with overlapping and translucent geometric shapes in a palette of blues, greens, and greys that, as the title suggests, depict a view into the void.
    Mario Schifano, Senza titolo, c.1975-1985
  • Pencil drawing on paper of a Donkey and a study for the painting Asinello (studio per "Gita in carrozzino"). Artwork details: Artist: Antonio Donghi. Artwork title: Asinello (studio per "Gita in carrozzino"). Artwork date: c.1955. Artwork medium: Pencil on paper. Artwork dimensions: 14 x 20 cm.
    Antonio Donghi, Asinello (Studio per "Gita in Carrozzina"), c.1955
  • Watercolour pastel on paper of a house among trees. The work on paper is a study for the painting 'Villa al Faito'.
    Antonio Donghi, Casa Tra Gli Alberi (Studio per 'Villa al Faito'), c.1955
  • Pencil on paper study for the painting "The Visit". The work depicts two people at a gate.
    Antonio Donghi, Studio per “La visita", c.1954
  • A pencil drawing on paper of a dog. The work on paper is a study for the painting "Ritorno dal lavoro".
    Antonio Donghi, Cagnolino (Studio per 'Ritorno dal lavoro'), c.1950-60
  • Oil painting of a chestnut-coloured horse at the beach shore.
    Giorgio de Chirico, Cavallo con drappo giallo, c.1950
  • An oil painting of a still life with bottles, a fruit bowl and a bust.
    Gino Severini, Natura Morta (Bottiglie, Fruttiera e Busto), c.1950
  • Watercolour pastel on paper of an Italian landscape with buildings amongst green trees.
    Antonio Donghi, Paesaggio con Tetti, c.1950
  • An oil on canvas painting of a landscape featuring a village with industrial chimney.
    Giorgio Morandi, Paesaggio, c.1925
  • An oil painting of the Basilica of Maxentius. Artwork details: Artist: Antonio Donghi. Artwork title: Basilica di Massenzio. Artwork date: c.1920. Artwork medium: Oil on canvas. Artwork dimensions: 61 x 40 cm.
    Antonio Donghi, Basilica di Massenzio, c.1920
  • An oil painting of a marina at either sunrise or sunset. Two boats can be seen at sea and in the distance, shapes of coastal buildings.
    Beppe Ciardi, Marina, c.1920
  • An oil painting depicting a scene of Venice with the lagoon gondolier and pigeons. Artwork details: Artist: Carlo Fornara. Artwork title: Venezia. Artwork date: c.1890-1900. Artwork medium: Oil on canvas. Artwork dimensions: 60 x 100 cm.
    Carlo Fornara, Venezia, c.1914
  • An oil painting of a shallow bay in the Adriatic Sea. The coastal landscape shows a rock edge jutting out to sea.
    Pietro Fragiacomo, Nel golfo di Trieste, c.1910-1920
  • An oil painting of cattle in a field with blue skies and white clouds.
    Beppe Ciardi, Aratura, c.1910
  • An oil painting of children playing in the water.
    Beppe Ciardi, Al sole di luglio, c.1900
  • An oil painting of a cottage on the road.
    Guglielmo Ciardi, Casolare sulla strada. Altopiano di Asiago, c.1890
  • An oil painting of fishermen in a marina both onshore and on a boat. The light suggests sunrise or sunset.
    Beppe Ciardi, Marina con pescatori, c.1875-1925
  • An oil painting on canvas depicting a courtyard filled with people gathered around a male figure alongside a horse, cart, and dogs.
    Giulio Gorra, Cortile con giocolieri, c.1850-1900
  • An oil painting of a battle in the forest.
    Antonio Diziani, Scontro nella foresta tra soldati e briganti, c.1750-1800
  • Oil painting of a carnival in Piazza S.Marcello, Rome.
    Giovanni Paolo Panini (area), Carnevale a piazza san Marcello, c.1740
  • An oil painting of Alexander the Great with the family of Darius III, the Persian king he had defeated in battle.
    Gaspare Diziani and Bottega, Alessandro e la famiglia di Dario, c.1700-50
  • Oil painting of figures gathered on ancient ruins.
    Giovanni Paolo Panini (area), Capriccio con la piramide di Caio Cestio, rovine classiche e figure (Diogene ?), c.1700-50
  • Oil painting of figures gathered on ancient ruins.
    Giovanni Paolo Panini (area), Capriccio con rovine classiche, statua di Marco Aurelio e figure, c.1700-50
  • Detail of an oil painting of the Virgin Mary surrounded by cherubs.
    Sebastiano Conca, Madonna immacolata, c.1700-50
  • An oil painting of Alexander the Great with the family of Darius III, the Persian king he had defeated in battle.
    Gaspare Diziani and Bottega, Muzio Scevola davanti a Re Porsenna, c.1700-50
  • An oil painting of a still life with fish and copper basin.
    Giuseppe Recco or Giovanni Battista Recco, Natura morta di pesci con bacile di rame, c.1700-50
  • An oil painting of the Roman countryside landscape.
    Jan Frans van Bloemen, Paesaggio della campagna romana o Paesaggio del basso Lazio con veduta dei Colli Albani o Veduta dei Colli Albani (?) con paese, c.1700-50
  • An oil painting of monks reflecting in a cellar.
    Alessandro Magnasco, Refezione di cappuccini, c.1700-50
  • An oil painting of St Cecilia playing the harp amongst an angel and three cherubs.
    Sebastiano Conca (attributed), Santa Cecilia, c.1700-50
  • An oil painting of a Venetian scene.
    Bernardo Canal, Veduta della Piazzetta di San Marco, c.1700-50
  • An oil painting of figures dancing among ruins.
    Alessandro Magnasco and Clemente Spera, Danza di satiri tra le rovine, c.1700-25
  • An oil painting of Satyrs on the maypole among ruins.
    Alessandro Magnasco and Clemente Spera, Satiri sull'albero della cuccagna , c.1700-25
  • An oil painting of the Lazio landscape and mushroom picking.
    Jan Frans van Bloemen, Paesaggio laziale con la raccolta dei funghi, c.1700-1750
  • An oil painting of the Roman landscape.
    Jan Frans van Bloemen (circle), Paesaggio romano, c.1700-1750
  • An oil on canvas painting of a young girl with flowers in her hair and a dark blue background.
    Veneto School XVIII Century, Giovanetta con fiori in grembo e cesta, c.1700
  • An oil painting of a young boy with a fruit platter.
    Veneto School XVIII Century, Giovanetto con vassoio di frutta, c.1700
  • An oil painting of a landscape, a large tree and a soldier with a Halberd.
    Salvator Rosa (manner of), Paesaggio con alabardiere, c.1700
  • An oil painting of the demolition of an ancient, ruined portico. A group of figures can be seen dismantling the building alongside a dog.
    Leonardo Coccorante or Gennaro Greco detto il Mascacotta, Demolizione di un galeone presso un antico portico in rovina, c.1690-1710
  • An oil painting depicting a story from Ovid's Metamorphoses, the Judgment of Midas. Pan, centre-right with goat legs, challenged the god of music, Apollo, centre-left, cloaked in red, to a musical competition. King Midas disagreed with Apollo as the winner, and so Apollo gave Midas donkey ears for his bad judgment.
    Giuseppe Bartolomeo Chiari, Il giudizio di Re Mida, c.1690-1710
  • An oil painting of The Parnassus, a mountain in central Greece adjacent to the site of the ancient city of Delphi that in Greek mythology was sacred to Apollo and the Corycian nymphs and the home of the Muses. Apollo stands off to the left in his military garb while the Corycian nymphs play music and the muses recline in the foreground around a stream.
    Giuseppe Bartolomeo Chiari, Il Parnaso, c.1690-1710
  • An oil painting of a fortification with storm and shipwreck.
    Antonio Maria Marini, Tempesta, c.1675-1725
  • An oil painting of a view of a fortified port and arsenal.
    Luca Carlevarijs, Veduta con porto fortificato e arsenale, c.1675-1725
  • An oil painting of a landscape featuring figures beneath architectural ruins.
    Ascanio Luciano, Architettura di ordine composito in rovina, c.1650-1700
  • An oil painting of a landscape featuring figures beneath architectural ruins.
    Ascanio Luciano, Colonnato ionico in rovina (Architettura con paesaggio), c.1650-1700
  • An oil painting illustrating the biblical passage in which a woman accused of adultery—an offence punishable by death in Mosaic law—is brought before Christ. Christ reaches from the lower left-hand side of the canvas across the crowd of men and points at an older man in orange while a woman in white clutches another figure. Christ declares that all those who even briefly consider the idea of adultery but do not act on it are as guilty as the woman, whom he dismissed, telling her not to sin again.
    Antonio Carneo, Cristo e l’adultera, c.1650-1700
  • An oil painting of a portrait of a young woman.
    Luca Giordano (attributed), Giovane donna, c.1650-1700
  • An oil painting of Jesus Christ. The title of the work "Il redentore", translates as "The Redeemer", a Christian reference because they believe he is said to have brought them redemption from sin. Rendered in soft brush strokes with golden chestnut hair and beard, in a light pink garment adorned by a blue cloak.
    Antonio Carneo, Il Redentore, c.1650-1700
  • An oil painting of the Holy Family, the Child Jesus, the Virgin Mary and Saint Joseph, set in a natural landscape.
    Antonio Carneo, La Sacra Famiglia, c.1650-1700
  • An oil painting of a sleeping menade. In Greek mythology, maenads were the female followers of Dionysus. One figure lays sleeping while another leans over, placing a hand on their shoulder.
    Antonio Carneo, Menade addormentata, c.1650-1700
  • Oil on canvas painting of harvested fruit in baskets surrounded by grapevines and wooden barrels.
    Carlo Manieri, known as il Maestro della Floridiana, Natura morta con ceste di frutta, c.1650-1700
  • An oil painting of a landscape with the Prophet Balaam and an angel.
    Pieter Mulier, known as Cavalier Tempesta, Paesaggio con l’episodio del profeta Balaam, c.1650-1700
  • An oil painting of the Adoration of the Magi or Adoration of the Kings or Visitation of the Wise Men is the name traditionally given to the subject in the Nativity of Jesus in art in which the three Magi, represented as kings, especially in the West, having found Jesus by following a star, lay before him gifts of gold, frankincense, and myrrh, and worship him.
    Charles Le Brun (attributed), Adorazione dei Magi, c.1600s
  • Oil painting of the biblical event from the New Testament, the story of the beheading of John the Baptist where the severed head is presented on a silver platter to Herod Antipas, ruler of Galilee under the Roman Empire who ordered his execution.
    Giovanni Baglione, La testa del Battista presentata ad Erode, c.1600-10
  • An oil painting of the nativity.
    Niccolò Musso, Natività, c.1600-10
  • An oil painting of San Giovannino with a sheep.
    Giovanni Battista Caracciolo known as Battistello Caracciolo (attributed), San Giovannino, c.1600-10
  • An oil painting of St. Mark sharpening a pen in a red and blue garment with a white undershirt.
    Giovanni Francesco Barbieri, known as Guercino (copy), San Marco che tempera una penna, c.1600
  • An oil painting of the assumption of the Madonna.
    Paolo Caliari, known as Veronese (manner of), Assunzione della Vergine, c.1590-1610
  • An oil painting of rural people harvesting food.
    Leandro da Ponte, known as Leandro Bassano (area), L'Autunno, c.1590-1610
  • An oil painting of rural people preparing slaughtered animals for food.
    Leandro da Ponte, known as Leandro Bassano (area), L'Inverno, c.1590-1610
  • An oil painting of a coastal view with a tower.
    Paul Bril, Veduta costiera con torre, c.1590-1610
  • An oil painting of Saint Catherine, Anthony of Padua and Ursula, set in a natural landscape. Saint Catherine is seen on the left dressed in pink, blue and orange. At her feet, a broken spiked wheel and sword. The wheel is the instrument of torture that Catherine was condemned to death on by the Roman Emperor Maxentius [306-312] for her strong Christian beliefs. According to legend, the wheel broke when she touched it, so she was beheaded with the sword. In the Centre, Saint Anthony of Padua, dressed in a monk's robe, is holding a white lily and an open book. According to legend, the book represents an event when Anthony had a psalter (a book of psalms) stolen in Bologna, which is the origin of calling upon St. Anthony when something is lost or stolen. The lily represents purity and his battle against the devil. Saint Ursula, on the right, is dressed in red, blue and white, holding a flag and a single arrow. The legendary Romano-British Christian saint is said to have died along with an anonymous group of holy virgins in Cologne. Saint Ursula was fatally shot with an arrow during a pan-European pilgrimage by the leader of the Huns', a nomadic people who lived in Central Asia who had besieged Cologne. Artwork details: Artist: Lorenzo Costa. Artwork title: S. Antonio da Padova e le Sante Caterina e Orsola. Artwork year: c.1500-25. Artwork medium: Oil on board. Artwork dimensions: 217 x 175.5 x 2.5 cm.
    Lorenzo Costa, S. Antonio da Padova e le Sante Caterina e Orsola, c.1520
  • An oil painting of the funeral of the Virgin surrounded by angels in nature.
    Michele Coltellini (circle of), Santa martire sorretta dagli angeli, c.1500-50
  • An oil painting of the Madonna with Child and Saint Anne in nature.
    Veneto School XVI Century, Madonna col Bambino, Sant’Anna e San Giovannino, c.1500-10
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