Ancient Painting '900 Male Portrait Oil on Canvas Contemporary Frame

The path of San Rocco (Camogli)

Oil on cardboard. Signed lower left. On the back this title in pencil. An extremely original landscape painter who experimented with oil painting but also with watercolors and engraving, Raul Viviani came very close to pointillist painting, however developing his own personal technique, characterized by very thin filaments of color in the shape of thin commas, which define the structures of his landscapes. With his transfer to Liguria, which made the landscape of that region the protagonist of his works, his technique changed, moving away from the original divisionism to open up to a broad and summary brushstroke, which finally resulted in the last period in a production of nature death with violent and contrasting colors. This landscape can also be placed in the Ligurian period, which offers a glimpse of a well-known Ligurian locality, still rendered in the characteristic style of Viviani, made of brushstrokes in thin filaments, superimposed on spots of lively color, in the chromatic ranges of the colors of nature. In frame.

Still life

Oil on the table. Signed upper right. An extremely original landscape painter who experimented with oil painting but also with watercolors and engraving, Raul Viviani came very close to pointillist painting, however developing his own personal technique, characterized by very thin filaments of color in the shape of thin commas, which define the structures of his landscapes. With his transfer to Liguria, which made the landscape of that region the protagonist of his works, his technique changed, moving away from the original divisionism to open up to a broad and summary brushstroke, which finally resulted in the last period in a production of nature death with violent and contrasting colors. This still life, a composition of vegetables and a vividly colored bottle, can be placed in this period. The work is presented in a frame.

Pulcinella's Games

Oil (mixed) on canvas. Signed and dated lower right. Additional signature, title, technique and declaration of authenticity on the back. Mario Cortiello, a Neapolitan painter, pupil of Gennaro Villani and later friend and collaborator of Umberto Lilloni, participated in the renewal of Neapolitan painting with his own personal style, without straying from tradition. Endowed with fertile invention and remarkable representational ability, he left behind a rich and varied production. Recurring in his production are landscape or urban views, populated by numerous figures, often, in the Neapolitan setting, by Punchinello, depicted floating on dreamlike backgrounds, so much so that he is defined as the Neapolitan Chagall.

The Olona

Oil on hardboard. Signed lower right. Further signature and title on the back. Giovanni Balansino, Piedmontese by origin but Lombard by adoption, chose to depict his love for both lands with his painting made of broad and nervous brushstrokes, dedicating a large part of his production to them. In the proposed painting, Balansino presents a glimpse of the Olona river, a watercourse entirely in Lombardy, as it flows through the villages of the Lombard plain. The work is presented in a frame.