Antique Painting Religious Subject Oil on Canvas 1750 ca. - Penitent Magdalene, ca. 1750

Grapes, figs, pomegranates and peaches on a capital

Oil on canvas. Signed ‘Max. PF.' on the upper frame of the capital. The still life consists of grapes, pomegranate and peaches placed on a capital, there is also a silver tray in the composition; in the background is a landscape with trees and ruins, on the left is a glimpse of a cerulean sky, barely veiled by clouds. Maximilian Pfeiler made a name for himself with his still lifes in which he placed an architectural fragment in the background of the flowers and fruit, already introducing the taste for ancient ruins that was to become fully established in the 18th century. The painting has been retouched and restored (minor repainting). It is presented in a frame.

The Penitent Magdalene and St. John the Baptist

Oil on slate. Two examples of oil painting on stone are proposed here, a pictorial genre that was particularly popular in the Venetian Republic between the 16th and 17th centuries, in its form of oil painting on blackboard or touchstone. The choice of such a dark stone as a background is not only linked to practical reasons (the proximity of the mines of Brescia and Val Brembana), but, as our two works clearly demonstrate, the emergence of the figures from the dark background responds to the light also full to the new needs of the painting of the time, which in the climate of the Counter-Reformation, tended to express not only the idealized existential certainties of the full Renaissance, but also the anxieties and the opening up to new phases, already tending with Tintoretto towards greater attention to reality and luministic contrasts, to then flow overwhelmingly into seventeenth-century research strongly focused on the contrasting combination of light and shadow. The two works presented here, well within the production of the Venetian area of ​​the first decades of the 17th century, propose two figures of saints, both hermits, placed on a dark, barely visible naturalistic background. The figure of Magdalene emerges from the darkness, leaning to follow the curve of the stone support; she is depicted looking questioningly towards the darkness, as if in a listening attitude, her left hand raised and the other resting on the remarkably shortened "memento mori". In front of her a scourge and the jar of ointment. Painted en pendant, Saint John the Baptist is represented as a young man, with a lamb at his feet, in his hand the processional cross with the banner "ecce agnus dei", while with his right hand he draws from the water source, recalling the episode that will see Jesus Christ baptized. In both paintings the figures stand out in a strong and incisive way thanks to the black that characterizes the slate plaque on which they are depicted. The two paintings, in an oval format, are presented in black wooden frames, from the late 19th century.

Flemish School, XVI Century

Oil on wooden board. Flemish school of the 16th century. The work has a plaque at the base attributing it to Lambert Van Noort (1520 -1571), justified by the closeness to his pictorial methods which can be found in the faces of Jesus and Magdalene, but not confirmable for the other parts of the painting. The work recounts the episode from the Gospel of John in which the scribes and Pharisees brought a woman accused of adultery to Jesus, to test her observance of the law of Moses, which included stoning. But Jesus, bending down to the ground, began to write with his finger in the dust, then when urged, he pronounced the words "Let anyone among you who is without sin cast the first stone", saving the woman and subsequently forgiving her. The large stage is filled with a large and tight group of characters. Jesus in the centre, is the only figure bent on the ground, estranged from the rest of the group and fixed in his gesture of writing with one finger; standing behind him, with a precise vertical alignment of her face with that of Christ, is the accused woman, who covers her body with her cloak observing Jesus' gesture, while awaiting the sentence; all around the scribes, the Pharisees, some soldiers, who instead speak animatedly among themselves, are agitated, confronting each other, indicating what Jesus is doing. The subject was widely represented in Flemish painting, with different interpretative methods. If in this painting the Flemish school is clearly perceived in the faces with hard features and in the rather rigid bodies in the movements of the scribes and Pharisees, as well as in the representation of the building in the background and in the meticulous representation of the shoes in the right foreground, the two The figures of Jesus and the woman are instead affected by the Italian influence, which softened the features of the faces, gave the movements of the body greater composure and gracefulness, and with the help of a brighter color made them stand out among the other figures. The panel of the painting was subjected to restoration and relined in the first half of the 20th century. The painting is presented in an adapted antique frame.

Oil on wooden board. Central Italian school of the second half of the 16th century. The sacred scene of the Annunciation sees the two protagonist figures placed in the foreground in an interior that corresponds to Mary's room. The young woman is sitting in front of a small wooden desk, supported by figures of angels, on which rests the prayer book and a vase with small flowers; at her feet, the sewing basket. Mary's body is partially turned backwards, in a twisted movement, almost as if she were trying to escape, as if she wanted to get away from the other figure, that of the Archangel Gabriel. He stands on the right, majestic and elegant, with one hand holding a lily and the other pointing upwards above him, where the white dove, symbol of the Holy Spirit, is emerging from a gap of light. In the background, tall columns with drapes surmount the platform on which Mary's bed rests. The composition refers, in the figurative style and in the chromatic choices, to the already mannerist painting of the schools of central Italy: in particular there is a strong concordance of style and composition with some works of the same subject by the painter Bastiano Vini Detto Bastiano Veronese (1525-1530 / 1602), who lived and worked in Pistoia from around 1540. It is in this city that some of his Annunciations are found: in particular the one in the Church of Santa Maria delle Grazie (an altarpiece measuring over two meters in height), shows clear similarities on a formal and compositional level with the one presented here . There is concordance in the setting of the sacred scene: a room, in the background of which is a curtain that partially covers a bed, furnished with the elements essential to the narrative, the lectern and the chair richly decorated with caryatids of cherubs or angels that seem to be carved in the wood. The compositional scheme corresponds, albeit with slight variations, with the two figures arranged "frieze-like" on the same laying plane, and the somatic features of the Virgin and the Archangel also correspond. However, the floor differs, which, while it is homogeneous in our table, in the Pistoia one presents itself with alternating checkerboard colors, but it seems that this design of the floor was added in a later period, on the occasion of the reconstruction of the altar in 1637 -1639, in pendant with that of another work by the same Sebastiano Vini in the same church, a Sacred Conversation. It therefore seems rather certain that our panel was painted looking at the work of Bastiano Veronese, probably at the specific request of the client, and before the change in the floor, therefore dating back to the second half of the 16th century. The painting has undergone restoration, with the application of two reinforcements to the back of the panel. It is presented in a late 19th century setting. (Reference for the Pistoia altarpiece: Catalog of cultural heritage https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/0900035285)

Snowy Landscape with Figures 1872

Oil on canvas. Signed, dated 1872 and located in Parma in the lower right corner. It is a large winter landscape with a strong scenic impact, which fits well into the scenographic traditionalism of the painting of Mentore Silvani, a native artist of Traversetolo (Parma), a landscape painter but also known as a set designer. In the scene, sprinkled with the white of a short snowfall that creates that typical rarefied and silent winter atmosphere, between bare and dry trees, a dirt road winds its way through by a traveler; on the right a dilapidated building with a wash house where a woman draws water; in the center a small column on which a sacred image is mounted. Trained in his hometown, Silvani participated in the exhibitions of the Encouragement of Parma starting from 1864, and it is mainly in his city that his works are found today (at the Municipality of Parma, the National Gallery, the Paolo Toschi artistic high school ); however, he also exhibited in Milan (1872) and Florence (1875). Trained as a scenographer at the school of Gerolamo Magnani, Silvani held this position in Parma but also in Venice starting from 1871. His pictorial production, which includes mainly rural landscapes of the Parma countryside, is always characterized by fidelity to reality. The work proposed here is presented in a contemporary frame.