Scuola veneta (XVIII) - Sant’Antonio






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Sant’Antonio, an oil on panel from the XVIII century in Italy by the Veneto–Bergamasca school, sold with frame; panel 24 × 19 cm, overall 44 × 39 cm.
Description from the seller
Saint Anthony of Padua
Veneto-Bergamasque School, 18th century
Oil on panel.
The intense 18th-century image presented here depicts Saint Anthony of Padua rising through refined luminous construction. The face, the focal point of the composition, is modeled with delicate tonal gradations that emphasize its expressive sweetness: lowered eyes, slightly parted lips, and a gentle inclination of the head suggest a dimension of gathered meditation.
The palette, dominated by deep browns, warm flesh tones, and soft veils, reveals a sensitivity attributable to the Veneto-Bergamasque milieu of the 18th century. The contrast between the face’s luminosity and the darkness of the habit and background gives the figure an intense presence, almost emerging from the shadows. The painting’s tactile quality is retained, particularly evident in the rendering of the flesh tones, the soft folds of the habit, and the petals of the lily.
The octagonal shape of the panel, set within a broader wooden frame that enhances the precious and intimate character of the image, is of particular significance.
On the back there is an ancient inscription identifying the subject and indicating “Scuola veneto-bergamasca”: an interesting testimony to the traditional reading of the work.
In the painting, with its exquisite silent presence, the light describes the figure and increases its spiritual dimension.
The panel has recently been cleaned and restored.
It comes from a Lombard residence.
As a complement to the work, there is a frame, finely velvet-covered.
Panel dimensions: 24 cm x 19 cm.
Overall dimensions 44 cm x 39 cm.
Saint Anthony of Padua
Veneto-Bergamasque School, 18th century
Oil on panel.
The intense 18th-century image presented here depicts Saint Anthony of Padua rising through refined luminous construction. The face, the focal point of the composition, is modeled with delicate tonal gradations that emphasize its expressive sweetness: lowered eyes, slightly parted lips, and a gentle inclination of the head suggest a dimension of gathered meditation.
The palette, dominated by deep browns, warm flesh tones, and soft veils, reveals a sensitivity attributable to the Veneto-Bergamasque milieu of the 18th century. The contrast between the face’s luminosity and the darkness of the habit and background gives the figure an intense presence, almost emerging from the shadows. The painting’s tactile quality is retained, particularly evident in the rendering of the flesh tones, the soft folds of the habit, and the petals of the lily.
The octagonal shape of the panel, set within a broader wooden frame that enhances the precious and intimate character of the image, is of particular significance.
On the back there is an ancient inscription identifying the subject and indicating “Scuola veneto-bergamasca”: an interesting testimony to the traditional reading of the work.
In the painting, with its exquisite silent presence, the light describes the figure and increases its spiritual dimension.
The panel has recently been cleaned and restored.
It comes from a Lombard residence.
As a complement to the work, there is a frame, finely velvet-covered.
Panel dimensions: 24 cm x 19 cm.
Overall dimensions 44 cm x 39 cm.
