Momalyu Liubov

The grace of the interweaving of natural forms.diptych

2022

an exquisite vintage pattern of climbing plants and vegetables creating a colourful contrast on a dark purple background - Original oil painting - 70х30 cm (27.6 W x 11.8 H x 0.4 D ...

vintage pattern of climbing plants and vegetables creating a colourful contrast on a dark green background - Original oil painting - 50х70 cm - no framing necessary. The sides of...

A quadriptych of Mini oil paintings in decorative vintage style . Beautiful elegant ornamentation of vegetable plants. Each of the paintings depicts different vegetables tomatoes, p...

As an artist, I must have energy, intensity, and movement translate onto the canvas, which is deeply personal for my self-expression. "…I am increasingly concerned about the cleanlin...

This art - work is part of the project REFLEXUS. The paint is made in the author's technique of painting by Vasili Zianko based acrylic painting on canvas using a variety of texture...

This art - work is part of the project DIFFICULT RELATIONSHIPS. The paint is made in the author's technique of painting by Vasili Zianko based acrylic painting on canvas using a var...

Claude Salvator HUGARD 1861 -?, French Netherlands, the lacemakers, evening effect Painting, oil on canvas Signed lower right Painting: 46 x 55 cm (18.1 x 21.6 inches) Beautiful 19th...

Paul THOMAS Paris, 1859 - Paris, 1940 Interior Painting, oil on canvas Signed Painting: 38 x 46 cm Frame circa 1900: 58 x 66.5 cm Very good condition Circa 1900-10

Julia Adams La Celebration Original Interior Painting Mixed Media with Acrylic Inks on Canvas Framed Size: H 79cm x W 64cm x D 1.9cm Sold Framed in a Painted White Wood Frame Please ...

Original oil painting on canvas. Hand signed on front by the artist. Canvas is stretched. Artwork is in excellent condition. Certificate of authenticity included. All reasonable...

In 2001 the German art historian Art historian and Raphael Expert, Prof. Jürg Meyer zur Capellen, published the painting "Die Heilige Familie" in a monographic article, ascribing the present work to the Venetian painter Giovanni Battista Pittoni (1687 -Venice - 1767). (Newspaper "Weltkunst", October 2001, No 12, p. 1850 f. ill.) He describes it as a typical work by this artist. Pittoni was one of the most influential and successful artists of the Venetian Settecento. He was a pupil of the Veronese Master Giovanni Balestra (1666-1740). His style is influenced by Sebastiano Ricci (1659-1734) and Giambattista Tiepolo (1696-1770). Giovanni Battista Pittoni was already successful at a young age and soon lead his own workshop. He created large-scale hitoria paintings, as well as large, religious altarpieces. In addition to Venetian and Upper Italian patrons, Pittoni also had many interested parties from Europe. His work is accordingly scattered in many different museums and private collections today. Pittoni - like other painter colleagues of his time - repeated his own compositions both by hand and with the help of his workshop. He repeatedly incorporated details into other pictures and contexts. Prof. Meyer zur Capellen noted the very good condition of the present work and the high quality of the paint with fine graduations and the vivid brushstrokes. Provenance: The panting has not been on the art market for at least 300 years. In the year 2000 the work was donated by the Münster-based, Noble Family Ketteler zu Harkotten to a private collection in Westphalia. Most probably the canon Nikolaus Hermann von Ketteler zu Harkotten bought the piece in Venice in 1750 together with the altarpiece of the Clemens Church in Münster. On the reverse of the work is a fideicommissum number by Ketteler zu Harkotten. As it belonged to the family commission, the painting was inalienable until 1919, when the corresponding law was repealed, and after that time it remained in the family's possession without interruption. Pittoni's only direct relationship to Münster is the commission for the high altar painting of the Baroque St. Clemens Church. It can be assumed that then canon von Ketteler saw this painting in the artist's workshop during his stay in Venice and acquired it for himself. This would also explain the discrepancy in dating. (ca. 1735/1750). However, it is also possible that the painting originated in the possession of Ferdinand von Plettenberg...

Exhibited: National Academy of Design, New York, 1906 (as no. 101) Art Institute of Chicago, 1908 (as no. 74)