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Landscape with Classical Ruins and Shepherds: Late 17th - Early 18th century.

Landscape with Classical Ruins and Shepherds: Late 17th - Early 18th century.

Regular price €1.500,00 EUR
Regular price Sale price €1.500,00 EUR
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Landscape with Classical Ruins and Shepherds
Period: Late 17th - Early 18th century
Frame: Antique, adapted from finely carved and gilded wood, with floral and linear decorations, likely from the 18th century and later adjusted to better frame the artwork.
Technique: Oil on wooden panel
Dimensions:

• With frame: H 21.5 cm x W 26.5 cm
• Without frame: H 12.5 cm x W 17 cm

Subject Description:
The painting depicts a pastoral landscape with classical architectural ruins on the left, possibly the remnants of an ancient temple or palace. Lush nature, dominated by a large tree on the right, surrounds the scene. In the center, two shepherds dressed in rustic attire guide a small flock of sheep. In the background, a watercourse and a rural village create a serene atmosphere.

Style and Attribution:
There are affinities with the work of Claude Lorrain and his followers, particularly in the inclusion of classical ruins within an idealized landscape. However, the work may also be by a foreign painter working in Italy, influenced by the Italian landscape tradition and incorporating elements typical of Arcadian depictions from the period.

Condition:
The painting surface is legible, with some signs of craquelure and small abrasions due to age. The frame shows signs of wear but retains its historical charm.

Atmosphere and Clouds:
The landscape is distinguished by a certain vaporous quality and a sense of atmospheric depth, particularly reflected in the treatment of the clouds. These are painted with soft, blurred edges, almost dissolving into the sky, creating an effect of lightness and luminosity. Although no precise attribution can be made, there is an echo of the Venetian sensitivity to atmosphere and light, reminiscent of works by Marco Ricci.

Additional Notes:
The presence of an inventory number “N 377” on the back, along with a quickly painted inscription, suggests the work was part of a catalogued collection.

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