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"TONINO"; ANTONIO STOM (Venice, 1688-1734)."Capriccio architettonico".Oil on canvas.The work will be
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Description
"TONINO"; ANTONIO STOM (Venice, 1688-1734).
"Capriccio architettonico".
Oil on canvas.
The work will be available approximately 10-15 days after payment has been made.
It has an export certificate.
Authentication Giancarlo Sestieri.
Measurements: 88 x 113 cm; 106 x 132 cm (frame).
In this present view or Italian "veduta" a famous architectural whim is represented, a bucolic and romantic landscape with a great arch perhaps superimposed on the remains of an amphitheatre in ruins. In the right foreground there are two architectural ruins in the lower part with two figures who bear witness to the diffuse archaeological passion of the times, especially in Rome. Meanwhile, on the left, the scene is introduced by a sparse arboreal backdrop.
Antonio Stom descended from a family of painters established in Venice between 1680 and 1700, specialising in the production of battles. Antonio Stom's role in the Venetian pictorial culture of the first decades of the 18th century was quite striking. In fact, he was the author of numerous "vedute" taken from life or fantasy and of tasteful architectural caprices with Roman ruins and obelisks on the edge of the maritime bays which, although influenced by the models of Eismann and Carlevarijs, present clearly original stylistic characteristics. In fact, his pictorial language is expressed in broad, coruscating brushstrokes with greasy impasto, generally leaving the contours undefined, and with an unusual colour palette in which green and blue-grey tones predominate, while the angular figures are retouched with patches of white, blue and dark red.
"Capriccio architettonico".
Oil on canvas.
The work will be available approximately 10-15 days after payment has been made.
It has an export certificate.
Authentication Giancarlo Sestieri.
Measurements: 88 x 113 cm; 106 x 132 cm (frame).
In this present view or Italian "veduta" a famous architectural whim is represented, a bucolic and romantic landscape with a great arch perhaps superimposed on the remains of an amphitheatre in ruins. In the right foreground there are two architectural ruins in the lower part with two figures who bear witness to the diffuse archaeological passion of the times, especially in Rome. Meanwhile, on the left, the scene is introduced by a sparse arboreal backdrop.
Antonio Stom descended from a family of painters established in Venice between 1680 and 1700, specialising in the production of battles. Antonio Stom's role in the Venetian pictorial culture of the first decades of the 18th century was quite striking. In fact, he was the author of numerous "vedute" taken from life or fantasy and of tasteful architectural caprices with Roman ruins and obelisks on the edge of the maritime bays which, although influenced by the models of Eismann and Carlevarijs, present clearly original stylistic characteristics. In fact, his pictorial language is expressed in broad, coruscating brushstrokes with greasy impasto, generally leaving the contours undefined, and with an unusual colour palette in which green and blue-grey tones predominate, while the angular figures are retouched with patches of white, blue and dark red.
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"TONINO"; ANTONIO STOM (Venice, 1688-1734).
"Capriccio architettonico".
Oil on canvas.
The work will be available approximately 10-15 days after payment has been made.
It has an export certificate.
Authentication Giancarlo Sestieri.
Measurements: 88 x 113 cm; 106 x 132 cm (frame).
In this present view or Italian "veduta" a famous architectural whim is represented, a bucolic and romantic landscape with a great arch perhaps superimposed on the remains of an amphitheatre in ruins. In the right foreground there are two architectural ruins in the lower part with two figures who bear witness to the diffuse archaeological passion of the times, especially in Rome. Meanwhile, on the left, the scene is introduced by a sparse arboreal backdrop.
Antonio Stom descended from a family of painters established in Venice between 1680 and 1700, specialising in the production of battles. Antonio Stom's role in the Venetian pictorial culture of the first decades of the 18th century was quite striking. In fact, he was the author of numerous "vedute" taken from life or fantasy and of tasteful architectural caprices with Roman ruins and obelisks on the edge of the maritime bays which, although influenced by the models of Eismann and Carlevarijs, present clearly original stylistic characteristics. In fact, his pictorial language is expressed in broad, coruscating brushstrokes with greasy impasto, generally leaving the contours undefined, and with an unusual colour palette in which green and blue-grey tones predominate, while the angular figures are retouched with patches of white, blue and dark red.
"Capriccio architettonico".
Oil on canvas.
The work will be available approximately 10-15 days after payment has been made.
It has an export certificate.
Authentication Giancarlo Sestieri.
Measurements: 88 x 113 cm; 106 x 132 cm (frame).
In this present view or Italian "veduta" a famous architectural whim is represented, a bucolic and romantic landscape with a great arch perhaps superimposed on the remains of an amphitheatre in ruins. In the right foreground there are two architectural ruins in the lower part with two figures who bear witness to the diffuse archaeological passion of the times, especially in Rome. Meanwhile, on the left, the scene is introduced by a sparse arboreal backdrop.
Antonio Stom descended from a family of painters established in Venice between 1680 and 1700, specialising in the production of battles. Antonio Stom's role in the Venetian pictorial culture of the first decades of the 18th century was quite striking. In fact, he was the author of numerous "vedute" taken from life or fantasy and of tasteful architectural caprices with Roman ruins and obelisks on the edge of the maritime bays which, although influenced by the models of Eismann and Carlevarijs, present clearly original stylistic characteristics. In fact, his pictorial language is expressed in broad, coruscating brushstrokes with greasy impasto, generally leaving the contours undefined, and with an unusual colour palette in which green and blue-grey tones predominate, while the angular figures are retouched with patches of white, blue and dark red.
26th October - Old Masters
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