"THE REGENTESSES OF THE OLD MEN'S ALMSHOUSE HAARLEM"

Édouard Manet, 1872. “The Regentesses of the Old Men's Almshouse Haarlem". Oil on canvas. 46 x 32. Édouard Manet 23 January 1832 - 30 April 1883 was a French modernist painter. He was one of the first 19th-century artists to paint modern life, and a pivotal figure in the transition from Realism to Impressionism. Born into an upper-class household with strong political connections, Manet rejected the future originally envisioned for him, and became engrossed in the world of painting. His early masterworks, The Luncheon on the Grass (Le déjeuner sur l'herbe) and Olympia, both 1863, caused great controversy and served as rallying points for the young painters who create Impressionism. Today, these are considered watershed paintings the mark the start of modern art. The last 20 years of Manet's life saw him for bonds with other great artists of the time, and develop his own style that would be heralded as innovative and serve as a major influence for future painters. The painting has all the documents including scientific evidence, now also the Wildestein collection is preparing other documents certifying them 100% authenticity.

Caravaggio, 1597. "Two palm yarns". Oil on canvas. 44,6 x 33,4. The painting, The artist's youthful masterpiece, express one of the most significant, emblematic and enigmatic themes of his early works, the one of "still life", destined to be at least to outline and promote a true "Genre", which - precisely because of the Merisi masterpiece - will be affirmed in the next painting, to this day. The content, markedly "metaphorical", indicates a complex conceptual of Love in a discreetly classicistic view and a resurfacing projection. Calligraphic and precise his brushstroke, is matched with his "ieratic/shamanic speculations" ante litteram about art as an iconographic allegory thrugh the use of rhetorical element (the ekphrasis) which can intrinsically describe other typological techniques or simply beauty and virtue. In the specific case, "alluding to the vacuity and the precariousness of life", as the cut flowers destined to droop and die soon, while the same container is fragile because of the same matter with which it is made. "the flowers became symbols of themeselves!" Coevo Giovan Pietro Bellori wrote: "he painted a flower pot with the water and glass trasparencies, scattered the flowers of fresh dew and other paintings, and made such an imitation." The art of Michelagnolo already early is a "visual" writing, a pilgrimage to the search for lost spirituality, an initiatory journey towards full consciousness of oneself. At just 26 years old, his painting "Palm Two Caraffa" is clear and concretely but at the same time hermetic, dense with references to our reality, a journey to conquer painting, the "world poetry". The complex study of this work allows the Lombard artist to return a more real human and cultural physiognomy, more relevant to History and to the passing of Humanism in the society of the Catholic Reformation, enhancing the intellectual and revolutionary reach of the artist's work Milan, to the light of Lombardy (Venetian) naturalism, and, on the other hand, the personal, tragic and unrepeatable experience the is attached to a painting by nature in the tension of choice of art, become a necessity of life, overhelming as a religious vocation. Caravaggio, in fact, rediscovers the premise of an Aristotelian conception of painting to renew it within a present view of Faith, expounded in lazy terms of reality and sacredness of man in the image and likeness of God. A personality that the commonplace of the story and the black myth (which had already begun in the painter's life and smuggled to this day) had turned him into a fleeing, atheistic and iconoclastic criminal, which in no way corresponds to the objective reality. Caravaggio, he never had any trouble understanding who the enemy was. In fact, unlike others, he could fight with two sharp arms: the long-knife white weapon and his masterpiece brush. Campo Marzio, Rome (Pontifical State), Ranuccio Tommasoni from Terni, nobleman, allowing...

"NU BLOND Debut"

Amedeo Modigliani, 1917-1918. "Nu Blond Debut". Oil on canvas. 92 x 65 cm. It contributed to the huge scandal given by the exposure of those nudes. The blonde-haired model is an exception of rare beauty in Modigliani's works: she is languid, lewd and sensual in the act of undressing, she is about to take off the white panties that can be seen just below the pubis. The head bent slightly to the right, the cerulean blue eyes and small red and captivating lips. The color vibrates in this canvas with brushstrokes similar to large spots of a reinterpretation of a more evident pointillism. That blonde that turns to an orange illuminates the painting on a blue background that incorporates the bright color of the eyes. He lets himself be admired, allusive, winking by recalling the spectator through his nakedness, as would a Mermaid with his song, who lets himself be overwhelmed by the enveloping eroticism of which the painting is imbued.

"SPATIAL CONCEPT. WAITING."

Lucio FONTANA, 1960. "Spatial Concept , Waiting". Water-based paint on canvas, red 41 x 33 cm. The pictorial is mounted on an original wooden frame, made of 4 side posts, connected by means Unions angle a mortise and tenon. The expansion chassis and obtained through the insertion of wooden biette within the angular fittings. And the canvas fixed on the frame edges with sellerine nails. Correct tension appears and there were no looseness and deformation. The title, the artist's signeature, the arrow and the 'enrollment (1+1-BB2) are present on the back of the canvas. The two black gauzes are well tensioned, the left that presents a meta small tear. In the correspondence according to right down cut, you notice a small imperfection in the original cut execution. For an examination, performed with the Wood, there is no evidence of retouches or restoration of the pictorial drawing load. examination of the surface shows a Proper condition, slight patina of dirt on the edges is on the pictoria surface, easily removable with a light cleaning. The painting is mounted in a frame between two one front and one rear windows. In conclusion the pictorial is in good state of conservation.