"Antonio Stom (venice 1688 - 1734), Capriccio Architectural With Ancient Ruins"Painting representing an architectural capriccio with ruins of classical buildings, obelisks and figures.
Work ofAntonio Stom called "Tonino" (Venice 1688 - 1734), accompanied by the expertise of Prof. Giancarlo Sestieri - Rome.
Oil on canvas
Measurements: Height 81 cm x Length 97.5 cm
with frame 101 x 117 cm.
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important [...] view Coastal "(oil painting on canvas, cm 81 x 97.5), centered around an" architectural Capriccio "relaxation together in the foreground on the right, leaving a space in the center in the background for a delimitation urban, while to the left, the glimpse of an ancient classical temple with a tapered column, with a low tree projecting towards the center, acts as a fifth opening to the scene.
[...] It is one of the most quality and examples of this particular peculiar part with which Antonio Stom says "Tonino" (Venice 1688 c - .1734) was able to carve out an original niche in Venetian view painting from the first half of the 18th century.
[...] The identification of his hand is immediately obvious for the complete comparison of his stylistic and pictorial figure in this type of inventiveness, among which the present offers us a matching selection, if not the most complete ever, various parameters typical with which it has been used to describe these port or coastal "views", imaginatively drawing the ancient classical remains, mixed with others of more recent date.
[...] Thus, in addition to the "length" of a Roman amphitheater, there stands a pinnacle obelisk which rests its a strange round building, in the shape of a medieval mausoleum, with two-sided entrance, to right having a pointed pyramid. A little more behind these two vertical parameters rises a strange fragment that took the form of a mushroom, formed by the remains of a square arch supported by a column or pillar.
[...] A real eccentric "assembly" reprehensible random, but offers us a variant called "ruinismo", certainly not afraid of the reflections of the face as an elusive and bizarre diversion. The scene completed on the right by a fountain with a double platform in round stone is animated by some figures of synthetic definition but punctuated by the bright colors of their clothes.
Reference Bibliography: G. Sestieri, The Architectural Capriccio in Italy in the 17th and 18th Centuries, Rome, 2015, vol. II, pp. 282 - 288
The painting is accompanied by a certificate of authenticity.
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