{"title":"Gregorio Sciltian","description":"\u003cp\u003eOpere di Gregorio Sciltian in vendita su Venderequadri, da collezioni private e gallerie. Hai un'opera di Gregorio Sciltian? \u003ca href=\"\/en\/pages\/valuta-la-tua-opera\"\u003eRichiedi la valutazione gratuita\u003c\/a\u003e: risposta entro 48 ore.\u003c\/p\u003e","products":[{"product_id":"verofalso-di-gregorio-sciltian","title":"True False by Gregorio Sciltian - The Veiled Woman","description":"","brand":"Vendere Quadri","offers":[{"title":"Default Title","offer_id":56210456019330,"sku":"RQUAD005","price":1000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/VERO-FALSO-DI-GREGORIO-SCILTIAN-la-velata-olio-su-tela-50x70.jpg?v=1768390361"},{"product_id":"greogorio-sciltian-la-velata","title":"Gregory Sciltian - The Veiled Woman","description":"\u003cp style=\"text-align: justify;\"\u003e He was born in the Armenian settlement of Nakhichevan-na-Donu, which later merged with the Russian city of Rostov-on-Don, in 1900 to a lawyer and a descendant of a wealthy Armenian industrial family. He trained at the St. Petersburg Academy and was influenced by Beardsley, debuting in Rostov at just fifteen with works attentive to the innovations of the Cubo-Futurist avant-garde.\u003c\/p\u003e\n\n\u003cp style=\"text-align: justify;\"\u003e In 1919, following the October Revolution, he left Russia and settled in Constantinople. But in the 1920s, he returned to classical figuration, studying the works of the Italian Renaissance at the Academy and in the museums of Vienna.\u003c\/p\u003e\n\n \u003cp style=\"text-align: justify;\"\u003eHe was in Berlin in 1922; in 1923 he married Elena Boberman and moved to Italy; he opened a studio in Rome and participated in the Second Rome Biennale in 1925. Roberto Longhi presented his solo exhibition at the Bragaglia art house. The critic emphasized the distinctiveness of a painting style that revisited the Caravaggesque and Flemish traditions with a realism of impressive photographic fidelity: a lenticular perfection achieved with a compact palette and a technique borrowed from ancient painting.\u003c\/p\u003e\n\n\u003cp style=\"text-align: justify;\"\u003e After participating in the 1926 Venice Biennale, Sciltian settled in Paris, where he exhibited at the Salon des Indépendants. In a solo exhibition at the Galérie de la Renaissance, one of his works was acquired by the Luxembourg Museum. In 1928, he participated in the Exposition de l'Art Russe at the Palais des Beaux-Arts in Brussels. One of his works entered the Royal Museums of Belgium. A constant theme in his paintings was the still life treated with trompe-l'oeil.\u003c\/p\u003e\n\n \u003cp style=\"text-align: justify;\"\u003eHe returned to Italy in 1934, settling in Milan until 1941, also working as a portraitist. He sent his works to exhibitions abroad (Liège, Berlin, London). He held a solo exhibition in Milan at the Galleria Scopinich, reviewed by Carlo Carrà in 'L'Ambrosiano', and one at Van Leer in Paris in 1933, at the Circolo della Stampa in Bologna in 1937, and again in Milan at Gianferrari in 1938. He exhibited the painting 'Bacco all'osteria' in the British Pavilion at the 1936 Venice Biennale, which was purchased by the Galleria Nazionale d'Arte Moderna in Rome. In 1940, with Fabrizio Clerici, he created a trompe l'oeil for the 7th Milan Triennale. In 1942, he had a solo exhibition in Milan at the Galleria del Milione and a room at the Venice Biennale. After the war, he set up a studio in Milan in Palazzo Trivulzio. In 1947, he exhibited at the Galleria dell'Illustrazione in Milan in the exhibition \"Painting by the Group of Modern Painters of Reality\" with the Bueno brothers, Acci, Carlo Guarienti, Serri, and Pietro Annigoni. With the same group, he exhibited in 1948 at the Galleria La Margherita. He deepened his study of Mannerism while working in summers in Gardone Riviera on Lake Garda, where he owned a home (in 1988, his widow donated 16 canvases and other paintings from her private collection to the Vittoriale degli Italiani, where they are still on display at Villa Mirabella). He exhibited at the Portrait exhibition at the Galleria Cherubini in Florence in 1949. \u003c\/p\u003e\n\n\u003cp style=\"text-align: justify;\"\u003eIn 1950, he exhibited a group of works at the 25th Venice Biennale and at the Parisian exhibition \"Exposition Internationale des Peintres de la Réalité\" at the Galérie Martoren. Waldemar George's book \"Sciltian: The Magic of Reality\" was published in Milan.\u003c\/p\u003e\n\n\u003cp style=\"text-align: justify;\"\u003e In 1953 he exhibited in Milan in a fashionable venue on Via Montenapoleone.\u003c\/p\u003e\n\n\u003cp style=\"text-align: justify;\"\u003e Further appearances in Paris at Drouet in 1958 and at Bernheim Jeune in 1974. Roman anthology at Palazzo Venezia in 1970.\u003c\/p\u003e\n\n\u003cp style=\"text-align: justify;\"\u003e Since the 1950s, he has been designing costumes for the Maggio Musicale Fiorentino and the Teatro alla Scala; since the 1960s, he has worked on religious subjects; he has illustrated works for publishers. He has published the autobiographical books 'Mia avventura' and 'La realtà di Sciltian. Trattato sulla pittura'. Anthologies in Milan in 1980 (the catalogue includes writings by I. Faldi, M. Fagiolo dell'Arco, and F. Miele) and in Moscow in 1983. Bibliography: R. Civello, Sciltian, opera omnia, Milan 1986.\u003c\/p\u003e\n\n \u003cp style=\"text-align: justify;\"\u003eHe died in Rome on April 1, 1985, and is buried in the Non-Catholic Cemetery in Rome. His gravestone bears his aphorism: \"The only true and supreme purpose of the art of painting has been and always will be to achieve the illusion of reality.\"\u003c\/p\u003e\n\n","brand":"Protti Melano Barbara","offers":[{"title":"Default Title","offer_id":56210610487682,"sku":"BPRO007","price":3680.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/e0092cd8b0a3d094abf5cbe46a09a8e8_orig.jpg?v=1768391640"},{"product_id":"greogorio-sciltian-la-velata-2","title":"Gregory Sciltian - The Veiled Woman","description":"\u003cp style=\"text-align: justify;\"\u003eHe was born in the Armenian settlement of Nakhichevan-na-Donu, which later merged with the Russian city of Rostov-on-Don, in 1900 to a lawyer and a descendant of a wealthy Armenian industrial family. He trained at the St. Petersburg Academy and was influenced by Beardsley, debuting in Rostov at just fifteen with works attentive to the innovations of the Cubo-Futurist avant-garde.\u003c\/p\u003e\n\n\u003cp style=\"text-align: justify;\"\u003e In 1919, following the October Revolution, he left Russia and settled in Constantinople. But in the 1920s, he returned to classical figuration, studying the works of the Italian Renaissance at the Academy and in the museums of Vienna.\u003c\/p\u003e\n\n \u003cp style=\"text-align: justify;\"\u003eHe was in Berlin in 1922; in 1923 he married Elena Boberman and moved to Italy; he opened a studio in Rome and participated in the Second Rome Biennale in 1925. Roberto Longhi presented his solo exhibition at the Bragaglia art house. The critic emphasized the distinctiveness of a painting style that revisited the Caravaggesque and Flemish traditions with a realism of impressive photographic fidelity: a lenticular perfection achieved with a compact palette and a technique borrowed from ancient painting.\u003c\/p\u003e\n\n\u003cp style=\"text-align: justify;\"\u003e After participating in the 1926 Venice Biennale, Sciltian settled in Paris, where he exhibited at the Salon des Indépendants. In a solo exhibition at the Galérie de la Renaissance, one of his works was acquired by the Luxembourg Museum. In 1928, he participated in the Exposition de l'Art Russe at the Palais des Beaux-Arts in Brussels. One of his works entered the Royal Museums of Belgium. A constant theme in his paintings was the still life treated with trompe-l'oeil.\u003c\/p\u003e\n\n \u003cp style=\"text-align: justify;\"\u003eHe returned to Italy in 1934, settling in Milan until 1941, also working as a portraitist. He sent his works to exhibitions abroad (Liège, Berlin, London). He held a solo exhibition in Milan at the Galleria Scopinich, reviewed by Carlo Carrà in 'L'Ambrosiano', and one at Van Leer in Paris in 1933, at the Circolo della Stampa in Bologna in 1937, and again in Milan at Gianferrari in 1938. He exhibited the painting 'Bacco all'osteria' in the British Pavilion at the 1936 Venice Biennale, which was purchased by the Galleria Nazionale d'Arte Moderna in Rome. In 1940, with Fabrizio Clerici, he created a trompe l'oeil for the 7th Milan Triennale. In 1942, he had a solo exhibition in Milan at the Galleria del Milione and a room at the Venice Biennale. After the war, he set up a studio in Milan in Palazzo Trivulzio. In 1947, he exhibited at the Galleria dell'Illustrazione in Milan in the exhibition \"Painting by the Group of Modern Painters of Reality\" with the Bueno brothers, Acci, Carlo Guarienti, Serri, and Pietro Annigoni. With the same group, he exhibited in 1948 at the Galleria La Margherita. He deepened his study of Mannerism while working in summers in Gardone Riviera on Lake Garda, where he owned a home (in 1988, his widow donated 16 canvases and other paintings from her private collection to the Vittoriale degli Italiani, where they are still on display at Villa Mirabella). He exhibited at the Portrait exhibition at the Galleria Cherubini in Florence in 1949. \u003c\/p\u003e\n\n\u003cp style=\"text-align: justify;\"\u003eIn 1950, he exhibited a group of works at the 25th Venice Biennale and at the Parisian exhibition \"Exposition Internationale des Peintres de la Réalité\" at the Galérie Martoren. Waldemar George's book \"Sciltian: The Magic of Reality\" was published in Milan.\u003c\/p\u003e\n\n\u003cp style=\"text-align: justify;\"\u003e In 1953 he exhibited in Milan in a fashionable venue on Via Montenapoleone.\u003c\/p\u003e\n\n\u003cp style=\"text-align: justify;\"\u003e Further appearances in Paris at Drouet in 1958 and at Bernheim Jeune in 1974. Roman anthology at Palazzo Venezia in 1970.\u003c\/p\u003e\n\n\u003cp style=\"text-align: justify;\"\u003e Since the 1950s, he has been designing costumes for the Maggio Musicale Fiorentino and the Teatro alla Scala; since the 1960s, he has worked on religious subjects; he has illustrated works for publishers. He has published the autobiographical books 'Mia avventura' and 'La realtà di Sciltian. Trattato sulla pittura'. Anthologies in Milan in 1980 (the catalogue includes writings by I. Faldi, M. Fagiolo dell'Arco, and F. Miele) and in Moscow in 1983. Bibliography: R. Civello, Sciltian, opera omnia, Milan 1986.\u003c\/p\u003e\n\n \u003cp style=\"text-align: justify;\"\u003eHe died in Rome on April 1, 1985, and is buried in the Non-Catholic Cemetery in Rome. His gravestone bears his aphorism: \"The only true and supreme purpose of the art of painting has been and always will be to achieve the illusion of reality.\"\u003c\/p\u003e\n\n","brand":"Asti Pier Alessandro","offers":[{"title":"Default Title","offer_id":56210720752002,"sku":"PAST001","price":0.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/e0092cd8b0a3d094abf5cbe46a09a8e8_orig_328116bf-5a1b-493a-a908-247faebf642f.jpg?v=1768392433"},{"product_id":"gregorio-sciltian-allegra-serenata","title":"Gregorio Sciltian - Cheerful Serenade","description":"\u003cp style=\"text-align: justify;\"\u003eGregorio Sciltian, Italianized for Grigoriy Ivanovich Shiltyan (Rostov, 1900 – Rome, 1985), was an Armenian painter. In 1919, following the October Revolution, he left Russia and settled in Constantinople. His style took shape in the 1920s, when he returned to classical figuration, studying the works of the Italian Renaissance at the Academy and in the museums of Vienna. In 1923, he moved to Italy; he opened a studio in Rome and participated in the Second Rome Biennale in 1925. Roberto Longhi presented his solo exhibition at the Bragaglia art house. The critic emphasizes the distinctiveness of a painting style that revisits the Caravaggesque and Flemish traditions with a realism of impressive photographic fidelity: a lenticular perfection achieved with a compact palette and a technique borrowed from ancient painting.\u003c\/p\u003e","brand":"Vertemati Antonio Prezzo originale 5500 accetta subito 3000\/2500","offers":[{"title":"Default Title","offer_id":56211540803970,"sku":"AVER001","price":950.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/IMG_0871-copia.jpg?v=1768400410"},{"product_id":"gregorio-sciltian-la-velata","title":"Gregorio Sciltian - The Veiled One","description":"\u003cp\u003e The human figure has always been at the center of artistic research. Since the classical age, the naturalistic rendering of human anatomy has been a primary goal of painters and sculptors throughout history. The representation of the nude is the ultimate expression of this aspiration, pervasive across all eras and stylistic trends. Indeed, in addition to the naturalistic interpretations of the Renaissance and various classicisms, which aimed for a truthful and detailed representation of the human body, the nude has also been a central figure in the new aesthetic concepts brought about by the historical avant-garde, such as Cubism, Expressionism, and Surrealism.\u003c\/p\u003e\n\n\n \u003cp\u003eGregorio Sciltian's style focuses heavily on exalting the plastic qualities of objects. The painter enhances volumes, emphasizes them with drawing, and highlights them with even lighting throughout the composition. In this way, the surfaces appear to be made of some precious, shiny material. Precisely for the purpose of fully exalting plasticity, Sciltian eliminates any pictorial effect, achieving a style that can be described as hyperrealist, in which, however, the study of Caravaggism and Flemish painters also plays a fundamental role.\u003c\/p\u003e\n\n\n \u003cp\u003eGregorio Sciltian, Italianized for Grigoriy Ivanovich Shiltyan (Rostov, 1900 – Rome, 1985), was an Armenian painter. In 1919, following the October Revolution, he left Russia and settled in Constantinople. His style took shape in the 1920s, when he returned to classical figuration, studying the works of the Italian Renaissance at the Academy and in the museums of Vienna. In 1923, he moved to Italy; he opened a studio in Rome and participated in the Second Rome Biennale in 1925. Roberto Longhi presented his solo exhibition at the Bragaglia art house. The critic emphasizes the distinctiveness of a painting style that revisits the Caravaggesque and Flemish traditions with a realism of impressive photographic fidelity: a lenticular perfection achieved with a compact palette and a technique borrowed from ancient painting.\u003c\/p\u003e","brand":"Sartori Carlo","offers":[{"title":"Default Title","offer_id":56211623215490,"sku":"CSAR005","price":1200.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/IMG_3777.jpg?v=1768401217"},{"product_id":"gregorio-sciltian-le-due-eta-2","title":"Gregory Sciltian - The Two Ages","description":"\u003cp\u003eThe iconography of this painting certainly has allegorical meanings and can be defined, in some ways, as symbolist precisely because of its allusion to underlying meanings. It is a type of subject that can be traced back to the artistic language of late nineteenth-century painters such as Moreau, Bocklin, or Puvis des Chavannes, who, despite using a substantially figurative language, developed intellectually complex iconographies, full of symbolic and allegorical references.\u003c\/p\u003e\n\n\n \u003cp\u003eGregorio Sciltian's style focuses heavily on exalting the plastic qualities of objects. The painter enhances volumes, emphasizes them with drawing, and highlights them with even lighting throughout the composition. In this way, the surfaces appear to be made of some precious, shiny material. Precisely for the purpose of fully exalting plasticity, Sciltian eliminates any pictorial effect, achieving a style that can be described as hyperrealist, in which, however, the study of Caravaggism and Flemish painters also plays a fundamental role.\u003c\/p\u003e\n\n\n \u003cp\u003eGregorio Sciltian, Italianized for Grigoriy Ivanovich Shiltyan (Rostov, 1900 – Rome, 1985), was an Armenian painter. In 1919, following the October Revolution, he left Russia and settled in Constantinople. His style took shape in the 1920s, when he returned to classical figuration, studying the works of the Italian Renaissance at the Academy and in the museums of Vienna. In 1923, he moved to Italy; he opened a studio in Rome and participated in the Second Rome Biennale in 1925. Roberto Longhi presented his solo exhibition at the Bragaglia art house. The critic emphasizes the distinctiveness of a painting style that revisits the Caravaggesque and Flemish traditions with a realism of impressive photographic fidelity: a lenticular perfection achieved with a compact palette and a technique borrowed from ancient painting.\u003c\/p\u003e","brand":"Sartori Carlo","offers":[{"title":"Default Title","offer_id":56211623281026,"sku":"CSAR006","price":1200.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/IMG_3781.jpg?v=1768401218"},{"product_id":"gregorio-sciltian-pane-vino","title":"Gregory Sciltian - Bread and Wine","description":"\u003cp\u003eThe \"Still Life\" genre emerged in the early 17th century. It consists of compositions of inanimate subjects, most often flowers or fruit. While initially it was an opportunity for painters to attempt a photographic reproduction of reality, with contemporary art the \"Still Life\" also becomes a way of interpreting reality, as it did for the Cubists or Giorgio Morandi.\u003c\/p\u003e\n\n\n \u003cp\u003eGregorio Sciltian's style focuses heavily on exalting the plastic qualities of objects. The painter enhances volumes, emphasizes them with drawing, and highlights them with even lighting throughout the composition. In this way, the surfaces appear to be made of some precious, shiny material. Precisely for the purpose of fully exalting plasticity, Sciltian eliminates any pictorial effect, achieving a style that can be described as hyperrealist, in which, however, the study of Caravaggism and Flemish painters also plays a fundamental role.\u003c\/p\u003e\n\n\n \u003cp\u003eGregorio Sciltian, Italianized for Grigoriy Ivanovich Shiltyan (Rostov, 1900 – Rome, 1985), was an Armenian painter. In 1919, following the October Revolution, he left Russia and settled in Constantinople. His style took shape in the 1920s, when he returned to classical figuration, studying the works of the Italian Renaissance at the Academy and in the museums of Vienna. In 1923, he moved to Italy; he opened a studio in Rome and participated in the Second Rome Biennale in 1925. Roberto Longhi presented his solo exhibition at the Bragaglia art house. The critic emphasizes the distinctiveness of a painting style that revisits the Caravaggesque and Flemish traditions with a realism of impressive photographic fidelity: a lenticular perfection achieved with a compact palette and a technique borrowed from ancient painting.\u003c\/p\u003e","brand":"Sartori Carlo","offers":[{"title":"Default Title","offer_id":56211623313794,"sku":"CSAR007","price":1200.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/IMG_3775.jpg?v=1768401221"},{"product_id":"gregorio-sciltian-la-velata-2","title":"Gregorio Sciltian - The Veiled One","description":"\u003cp style=\"text-align: justify;\"\u003eThe human figure has always been at the center of artistic research. Since the classical age, the naturalistic rendering of human anatomy has been a primary goal of painters and sculptors throughout history. The representation of the nude is the ultimate expression of this aspiration, pervasive across all eras and stylistic trends. Indeed, in addition to the naturalistic interpretations of the Renaissance and various classicisms, which aimed for a truthful and detailed representation of the human body, the nude has also been a central figure in the new aesthetic concepts brought about by the historical avant-garde, such as Cubism, Expressionism, and Surrealism.\u003c\/p\u003e\n\n \u003cp style=\"text-align: justify;\"\u003eGregorio Sciltian's style focuses heavily on exalting the plastic qualities of objects. The painter enhances volumes, emphasizes them with drawing, and highlights them with even lighting throughout the composition. In this way, the surfaces appear to be made of some precious, shiny material. Precisely for the purpose of fully exalting plasticity, Sciltian eliminates any pictorial effect, achieving a style that can be described as hyperrealist, in which, however, the study of Caravaggism and Flemish painters also plays a fundamental role.\u003c\/p\u003e\n\n \u003cp style=\"text-align: justify;\"\u003eGregorio Sciltian, Italianized for Grigoriy Ivanovich Shiltyan (Rostov, 1900 – Rome, 1985), was an Armenian painter. In 1919, following the October Revolution, he left Russia and settled in Constantinople. His style took shape in the 1920s, when he returned to classical figuration, studying the works of the Italian Renaissance at the Academy and in the museums of Vienna. In 1923, he moved to Italy; he opened a studio in Rome and participated in the Second Rome Biennale in 1925. Roberto Longhi presented his solo exhibition at the Bragaglia art house. The critic emphasizes the distinctiveness of a painting style that revisits the Caravaggesque and Flemish traditions with a realism of impressive photographic fidelity: a lenticular perfection achieved with a compact palette and a technique borrowed from ancient painting.\u003c\/p\u003e\n\n\u003cp style=\"text-align: justify;\"\u003e\u003c\/p\u003e","brand":"Moro Alessandra","offers":[{"title":"Default Title","offer_id":56211945849218,"sku":"AMOR004","price":1600.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/IMG_20180612_132703.jpg?v=1768402347"},{"product_id":"gregorio-sciltian-le-due-eta-3","title":"Gregory Sciltian - The Two Ages","description":"\u003cp style=\"text-align: justify;\"\u003e The iconography of this painting certainly has allegorical meanings and can be defined, in some ways, as symbolist precisely because of its allusion to underlying meanings. It is a type of subject that can be traced back to the artistic language of late nineteenth-century painters such as Moreau, Bocklin, or Puvis des Chavannes, who, despite using a substantially figurative language, developed intellectually complex iconographies, full of symbolic and allegorical references.\u003c\/p\u003e\n\n \u003cp style=\"text-align: justify;\"\u003eGregorio Sciltian's style focuses heavily on exalting the plastic qualities of objects. The painter enhances volumes, emphasizes them with drawing, and highlights them with even lighting throughout the composition. In this way, the surfaces appear to be made of some precious, shiny material. Precisely for the purpose of fully exalting plasticity, Sciltian eliminates any pictorial effect, achieving a style that can be described as hyperrealist, in which, however, the study of Caravaggism and Flemish painters also plays a fundamental role.\u003c\/p\u003e\n\n \u003cp style=\"text-align: justify;\"\u003eGregorio Sciltian, Italianized for Grigoriy Ivanovich Shiltyan (Rostov, 1900 – Rome, 1985), was an Armenian painter. In 1919, following the October Revolution, he left Russia and settled in Constantinople. His style took shape in the 1920s, when he returned to classical figuration, studying the works of the Italian Renaissance at the Academy and in the museums of Vienna. In 1923, he moved to Italy; he opened a studio in Rome and participated in the Second Rome Biennale in 1925. Roberto Longhi presented his solo exhibition at the Bragaglia art house. The critic emphasizes the distinctiveness of a painting style that revisits the Caravaggesque and Flemish traditions with a realism of impressive photographic fidelity: a lenticular perfection achieved with a compact palette and a technique borrowed from ancient painting.\u003c\/p\u003e\n\n\u003cp style=\"text-align: justify;\"\u003e\u003c\/p\u003e","brand":"Pertici Matteo","offers":[{"title":"Default Title","offer_id":56212008370562,"sku":"MPER001","price":2875.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/IMG_9545.jpg?v=1768402828"},{"product_id":"gregorio-sciltian-rustico","title":"Gregory Sciltian - Rustico","description":"\u003cp style=\"text-align: justify;\"\u003eThe \"Still Life\" genre emerged in the early 17th century. It consists of compositions of inanimate subjects, most often flowers or fruit. While initially it was an opportunity for painters to attempt a photographic reproduction of reality, with contemporary art the \"Still Life\" also becomes a way of interpreting reality, as it did for the Cubists or Giorgio Morandi.\u003c\/p\u003e\n\n \u003cp style=\"text-align: justify;\"\u003eGregorio Sciltian's style focuses heavily on exalting the plastic qualities of objects. The painter enhances volumes, emphasizes them with drawing, and highlights them with even lighting throughout the composition. In this way, the surfaces appear to be made of some precious, shiny material. Precisely for the purpose of fully exalting plasticity, Sciltian eliminates any pictorial effect, achieving a style that can be described as hyperrealist, in which, however, the study of Caravaggism and Flemish painters also plays a fundamental role.\u003c\/p\u003e\n\n \u003cp style=\"text-align: justify;\"\u003eGregorio Sciltian, Italianized for Grigoriy Ivanovich Shiltyan (Rostov, 1900 – Rome, 1985), was an Armenian painter. In 1919, following the October Revolution, he left Russia and settled in Constantinople. His style took shape in the 1920s, when he returned to classical figuration, studying the works of the Italian Renaissance at the Academy and in the museums of Vienna. In 1923, he moved to Italy; he opened a studio in Rome and participated in the Second Rome Biennale in 1925. Roberto Longhi presented his solo exhibition at the Bragaglia art house. The critic emphasizes the distinctiveness of a painting style that revisits the Caravaggesque and Flemish traditions with a realism of impressive photographic fidelity: a lenticular perfection achieved with a compact palette and a technique borrowed from ancient painting.\u003c\/p\u003e\n\n\u003cp style=\"text-align: justify;\"\u003e\u003c\/p\u003e","brand":"Pertici Matteo","offers":[{"title":"Default Title","offer_id":56212008796546,"sku":"MPER002","price":2875.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/IMG_9561_6a5405ec-a515-4cb9-992c-7ea2134de319.jpg?v=1768402830"},{"product_id":"gregorio-sciltian-betsabea","title":"Gregory Sciltian - Bathsheba","description":"\u003cp style=\"text-align: justify;\"\u003eBathsheba is a character from the Old Testament. Scripture narrates that King David fell in love with her when he saw her bathing while walking through his palace, so much so that he caused the death of her husband Uriah to win her. The iconography of Bathsheba is quite widespread in Italian painting, especially 16th-century Venetian painting, where a favorite subject is the female nude. Bathsheba is always depicted bathing or, as in this more modern interpretation by Sciltian, engaged in grooming with the help of a servant.\u003c\/p\u003e\n\n \u003cp style=\"text-align: justify;\"\u003eGregorio Sciltian's style focuses heavily on exalting the plastic qualities of objects. The painter enhances volumes, emphasizes them with drawing, and highlights them with even lighting throughout the composition. In this way, the surfaces appear to be made of some precious, shiny material. Precisely for the purpose of fully exalting plasticity, Sciltian eliminates any pictorial effect, achieving a style that can be described as hyperrealist, in which, however, the study of Caravaggism and Flemish painters also plays a fundamental role.\u003c\/p\u003e\n\n \u003cp style=\"text-align: justify;\"\u003eGregorio Sciltian, Italianized for Grigoriy Ivanovich Shiltyan (Rostov, 1900 – Rome, 1985), was an Armenian painter. In 1919, following the October Revolution, he left Russia and settled in Constantinople. His style took shape in the 1920s, when he returned to classical figuration, studying the works of the Italian Renaissance at the Academy and in the museums of Vienna. In 1923, he moved to Italy; he opened a studio in Rome and participated in the Second Rome Biennale in 1925. Roberto Longhi presented his solo exhibition at the Bragaglia art house. The critic emphasizes the distinctiveness of a painting style that revisits the Caravaggesque and Flemish traditions with a realism of impressive photographic fidelity: a lenticular perfection achieved with a compact palette and a technique borrowed from ancient painting.\u003c\/p\u003e\n\n\u003cp style=\"text-align: justify;\"\u003e\u003c\/p\u003e","brand":"Pertici Matteo","offers":[{"title":"Default Title","offer_id":56212009255298,"sku":"MPER003","price":4000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/IMG_9549.jpg?v=1768402831"},{"product_id":"gregorio-sciltan-lestate","title":"Gregorio Sciltan - Summer","description":"\u003cp style=\"text-align: justify;\"\u003eGregorio Sciltian, the Italianized name of Grigorij Ivanovič Šiltjan (Rostov, 1900 – Rome, 1985), was an Armenian painter. In 1919, following the October Revolution, he left Russia and settled in Constantinople. His style took shape in the 1920s when he returned to classical figuration, studying the works of the Italian Renaissance at the Academy and the Museums of Vienna. In 1923, he moved to Italy; he opened a studio in Rome and participated in the II Rome Biennale in '25. Roberto Longhi presented his solo exhibition at the Bragaglia art gallery. The critic highlighted the uniqueness of a painting that revived the Caravaggesque and Flemish tradition with a realism of striking photographic fidelity: a lenticular perfection achieved with a compact chromatic medium and techniques borrowed from old master painting.\u003c\/p\u003e","brand":"Vertemati Antonio","offers":[{"title":"Default Title","offer_id":56212572668290,"sku":"AVER005","price":1250.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/gregorio-sciltian.jpg?v=1768406139"},{"product_id":"gregorio-sciltian-risveglio","title":"Gregory Sciltian - The Awakening","description":"\u003cp style=\"text-align: justify;\"\u003eThe human figure has always been at the center of artistic research. Since the classical age, the naturalistic rendering of human anatomy has been a primary goal of painters and sculptors throughout history. The representation of the nude is the highest expression of this aspiration, pervasive across all eras and stylistic trends. Indeed, in addition to the naturalistic interpretations of the Renaissance and various classicisms, which aimed for a truthful and detailed representation of the human body, the nude has also been a central theme in the new aesthetic concepts brought about by the historical avant-garde movements, such as Cubism, Expressionism, and Surrealism.\u003c\/p\u003e\n\n \u003cp style=\"text-align: justify;\"\u003eGregorio Sciltian's style focuses heavily on exalting the plastic qualities of objects. The painter enhances volumes, emphasizes them with drawing, and highlights them with even lighting throughout the composition. In this way, the surfaces appear to be made of some precious, shiny material. Precisely for the purpose of fully exalting plasticity, Sciltian eliminates any pictorial effect, achieving a style that can be described as hyperrealist, in which, however, the study of Caravaggism and Flemish painters also plays a fundamental role.\u003c\/p\u003e\n\n \u003cp style=\"text-align: justify;\"\u003eGregorio Sciltian, Italianized for Grigoriy Ivanovich Shiltyan (Rostov, 1900 – Rome, 1985), was an Armenian painter. In 1919, following the October Revolution, he left Russia and settled in Constantinople. His style took shape in the 1920s, when he returned to classical figuration, studying the works of the Italian Renaissance at the Academy and in the museums of Vienna. In 1923, he moved to Italy; he opened a studio in Rome and participated in the Second Rome Biennale in 1925. Roberto Longhi presented his solo exhibition at the Bragaglia art house. The critic emphasizes the distinctiveness of a painting style that revisits the Caravaggesque and Flemish traditions with a realism of impressive photographic fidelity: a lenticular perfection achieved with a compact palette and a technique borrowed from ancient painting.\u003c\/p\u003e","brand":"D'eliseo Michele","offers":[{"title":"Default Title","offer_id":56212755775874,"sku":"MDELI029","price":1200.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/Sciltian.jpg?v=1768406848"},{"product_id":"gregorio-sciltian-vanitas-2","title":"Gregorio Sciltian - Vanitas","description":"\u003cp style=\"text-align: justify;\"\u003eThe iconography of this painting certainly has allegorical meanings and can be defined, in some ways, as symbolist precisely because of its allusion to underlying meanings. It is a type of subject that can be traced back to the artistic language of late nineteenth-century painters such as Moreau, Bocklin, or Puvis des Chavannes, who, despite using a substantially figurative language, developed intellectually complex iconographies, full of symbolic and allegorical references.\u003c\/p\u003e\n\n \u003cp style=\"text-align: justify;\"\u003eGregorio Sciltian's style focuses heavily on enhancing the plastic qualities of objects. The painter highlights volumes, emphasizes them with drawing, and highlights them with even lighting throughout the composition. In this way, the surfaces appear to be made of some precious, shiny material. Precisely for the purpose of fully enhancing plasticity, Sciltian eliminates any pictorial effect, achieving a style that can be described as hyperrealist, in which, however, the study of Caravaggism and Flemish painters also plays a fundamental role.\u003c\/p\u003e\n\n \u003cp style=\"text-align: justify;\"\u003eGregorio Sciltian, Italianized for Grigoriy Ivanovich Shiltyan (Rostov, 1900 – Rome, 1985), was an Armenian painter. In 1919, following the October Revolution, he left Russia and settled in Constantinople. His style took shape in the 1920s, when he returned to classical figuration, studying the works of the Italian Renaissance at the Academy and in the museums of Vienna. In 1923, he moved to Italy; he opened a studio in Rome and participated in the Second Rome Biennale in 1925. Roberto Longhi presented his solo exhibition at the Bragaglia art house. The critic emphasizes the distinctiveness of a painting style that revisits the Caravaggesque and Flemish traditions with a realism of impressive photographic fidelity: a lenticular perfection achieved with a compact palette and a technique borrowed from ancient painting.\u003c\/p\u003e","brand":"Di Lauro Giorgio 6500","offers":[{"title":"Default Title","offer_id":56212885209474,"sku":"GDIL001","price":0.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/WhatsApp-Image-2018-12-17-at-11.03.jpg?v=1768407347"},{"product_id":"gregorio-sciltian-inferno-purgatorio-paradiso","title":"Gregory Sciltian - Hell, Purgatory, Paradise","description":"\u003cp style=\"text-align: justify;\"\u003e The triptych features a series of three lithographs inspired by Dante's Divine Comedy, one for each canticle. For Hell, there is the very popular episode of Paolo and Francesca from Canto V. For Purgatory, the punishment of the proud is depicted in Canto XI. For Paradise, Canto VII, which features the Crucifixion of Christ.\u003c\/p\u003e\n\n \u003cp style=\"text-align: justify;\"\u003eGregorio Sciltian's style focuses heavily on enhancing the plastic qualities of his subjects. The painter highlights volumes, emphasizes them with drawing, and highlights them with even lighting throughout the composition. In this way, the surfaces appear to be made of some precious, shiny material. Precisely for the purpose of fully enhancing plasticity, Sciltian eliminates any pictorial effect, achieving a style that can be described as hyperrealist. In these works, being graphic works, the pure drawing that underpins the master's easel work prevails.\u003c\/p\u003e\n\n \u003cp style=\"text-align: justify;\"\u003eGregorio Sciltian, Italianized for Grigoriy Ivanovich Shiltyan (Rostov, 1900 – Rome, 1985), was an Armenian painter. In 1919, following the October Revolution, he left Russia and settled in Constantinople. His style took shape in the 1920s, when he returned to classical figuration, studying the works of the Italian Renaissance at the Academy and in the museums of Vienna. In 1923, he moved to Italy; he opened a studio in Rome and participated in the Second Rome Biennale in 1925. Roberto Longhi presented his solo exhibition at the Bragaglia art house. The critic emphasizes the distinctiveness of a painting style that revisits the Caravaggesque and Flemish traditions with a realism of impressive photographic fidelity: a lenticular perfection achieved with a compact palette and a technique borrowed from ancient painting.\u003c\/p\u003e","brand":"Baisi Francesca","offers":[{"title":"Default Title","offer_id":56213614363010,"sku":"FBAI001","price":10000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/Senza-titolo-1-1_73ac742a-b01a-4b30-a039-832e243e491a.jpg?v=1768410655"},{"product_id":"gregorio-sciltian-inferno-purgatorio-paradiso-2","title":"Gregory Sciltian - Hell, Purgatory, Paradise","description":"\u003cp style=\"text-align: justify;\"\u003e The triptych features a series of three lithographs inspired by Dante's Divine Comedy, one for each canticle. For Hell, there is the very popular episode of Paolo and Francesca from Canto V. For Purgatory, the punishment of the proud is depicted in Canto XI. For Paradise, Canto VII, which features the Crucifixion of Christ.\u003c\/p\u003e\n\n \u003cp style=\"text-align: justify;\"\u003eGregorio Sciltian's style focuses heavily on enhancing the plastic qualities of his subjects. The painter highlights volumes, emphasizes them with drawing, and highlights them with even lighting throughout the composition. In this way, the surfaces appear to be made of some precious, shiny material. Precisely for the purpose of fully enhancing plasticity, Sciltian eliminates any pictorial effect, achieving a style that can be described as hyperrealist. In these works, being graphic works, the pure drawing that underpins the master's easel work prevails.\u003c\/p\u003e\n\n \u003cp style=\"text-align: justify;\"\u003eGregorio Sciltian, Italianized for Grigoriy Ivanovich Shiltyan (Rostov, 1900 – Rome, 1985), was an Armenian painter. In 1919, following the October Revolution, he left Russia and settled in Constantinople. His style took shape in the 1920s, when he returned to classical figuration, studying the works of the Italian Renaissance at the Academy and in the museums of Vienna. In 1923, he moved to Italy; he opened a studio in Rome and participated in the Second Rome Biennale in 1925. Roberto Longhi presented his solo exhibition at the Bragaglia art house. The critic emphasizes the distinctiveness of a painting style that revisits the Caravaggesque and Flemish traditions with a realism of impressive photographic fidelity: a lenticular perfection achieved with a compact palette and a technique borrowed from ancient painting.\u003c\/p\u003e","brand":"Favaroni Marcello 4140","offers":[{"title":"Default Title","offer_id":56215579394434,"sku":"MFAV002","price":0.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/Senza-titolo-1-1_550751be-11e1-4d31-a96c-c791df385bb4.jpg?v=1768427652"},{"product_id":"greogorio-sciltian-la-velata-3","title":"Gregory Sciltian - The Veiled Woman","description":"\u003cp style=\"text-align: justify;\"\u003eHe was born in the Armenian settlement of Nakhichevan-na-Donu, which later merged with the Russian city of Rostov-on-Don, in 1900 to a lawyer and a descendant of a wealthy Armenian family of industrialists. He studied at the Academy of Saint Petersburg and under the influence of Beardsley, debuting in Rostov at just fifteen with works attentive to the latest developments in Cubo-Futurist avant-garde.\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\"\u003eIn 1919, following the October Revolution, he leaves Russia and settles in Constantinople. But in the 1920s he returns to classical figuration, studying the works of the Italian Renaissance at the Academy and the Museums of Vienna.\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\"\u003eHe is in Berlin in '22; in 1923 he marries Elena Boberman and moves to Italy; he opens a studio in Rome and participates in the II Rome Biennale in '25. Roberto Longhi presents his solo exhibition at the Bragaglia art gallery. The critic highlights the peculiarity of a painting that revives the Caravaggesque and Flemish tradition with a realism of impressive photographic fidelity: a lenticular perfection achieved with a material of compact chromaticity and a technique borrowed from ancient painting.\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\"\u003eAfter participating in the 1926 Venice Biennale, Sciltian settles in Paris where he exhibits at the Salon des Indépendants. At a solo exhibition at the Galérie de la Renaissance, one of his works is acquired by the Luxembourg Museum. In 1928 he participates in the Exposition de l'Art Russe at the Palais des Beaux Arts in Brussels. One of his works enters the Royal Museum of Belgium. A constant theme of his painting is still life treated in 'Trompe-l'œil'.\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\"\u003eHe returns to Italy in 1934, settling in Milan until 1941, also working as a portraitist. He sends works to foreign exhibitions (Liege, Berlin, London). He organizes a Milanese solo exhibition at the Galleria Scopinich, reviewed by Carlo Carrà in 'L'Ambrosiano', and another at Van Leer in Paris in 1933, at the Circolo della Stampa in Bologna in 1937, and again in Milan at Gianferrari in 1938. He exhibits in the Great Britain Pavilion at the 1936 Venice Biennale the painting 'Bacchus in the Tavern', purchased by the National Gallery of Modern Art in Rome. In 1940 he executes with Fabrizio Clerici a trompe l'oeil for the VII Milan Triennale. In 1942, a solo exhibition in Milan at the Galleria del Milione and a room at the Venice Biennale. After the war, he sets up a studio in Milan in Palazzo Trivulzio. In 1947 he exhibits at the Illustrazione gallery in Milan in the exhibition of 'Painting by the Group of Modern Realist Painters' with the Bueno brothers, Acci, Carlo Guarienti, Serri and Pietro Annigoni. With the same group he exhibits in 1948 at the La Margherita gallery. He deepens his study of Mannerism while working in the summer in Gardone Riviera on Lake Garda where he owns a house (his widow in 1988 will donate 16 canvases and other paintings from the private collection to the Vittoriale degli Italiani where they are still exhibited at Villa Mirabella). He exhibits at the Portrait exhibition at the Cherubini Gallery in Florence in 1949.\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\"\u003eIn 1950 he exhibits a group of works at the XXV Venice Biennale and at the Paris review at the Galérie Martoren 'Exposition Internationale des Peintres de la Réalité'. Waldemar George's volume 'Sciltian: the magic of reality' is published in Milan.\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\"\u003eIn 1953 he exhibits in Milan in a fashionable venue in via Montenapoleone.\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\"\u003eFurther presences in Paris at Drouet in 1958 and at Bernheim Jeune in 1974. Retrospective exhibition in Rome at Palazzo Venezia in 1970.\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\"\u003eFrom the '50s onwards he works on costumes for the Maggio Musicale Fiorentino and for La Scala; from the '60s onwards he works on religious subjects; he illustrates works for publishing houses. He publishes the autobiographical books 'My Adventure' and 'The Reality of Sciltian. A Treatise on Painting'. Retrospectives in Milan in 1980 (with texts in the catalog by I. Faldi, M. Fagiolo dell'Arco, F. Miele) and in Moscow in 1983. Bibliography: R. Civello, Sciltian, opera omnia, Milan 1986.\u003c\/p\u003e\n\u003cp style=\"text-align: justify;\"\u003eHe dies in Rome on April 1, 1985 and is buried at the Non-Catholic Cemetery of Rome. On his tombstone is inscribed his aphorism: \"The only true and supreme purpose of the art of painting has been and will always be that of achieving the illusion of reality\".\u003c\/p\u003e","brand":"Pravatà Roberto 12000","offers":[{"title":"Default Title","offer_id":56215685038466,"sku":"PRAVRO001","price":0.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/IMG_20170628_112634.jpg?v=1768428268"},{"product_id":"gregorio-sciltian-le-2-eta","title":"Gregory Sciltian - The Two Ages","description":"","brand":"Nardi Ferrucci 12000","offers":[{"title":"Default Title","offer_id":56215712989570,"sku":"FNAR001","price":0.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/DSCN1567-copia.jpg?v=1768428472"},{"product_id":"gregori-sciltian-vanitas","title":"Gregori Sciltian - Vanitas","description":"","brand":"Tomassini Viviana","offers":[{"title":"Default Title","offer_id":56215763812738,"sku":"VTOM001","price":0.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/IMG-1334-copia.jpg?v=1768428893"},{"product_id":"gregorio-sciltian-la-velata-3","title":"Gregorio Sciltian - The Veiled One","description":"","brand":"Saiani Paola 4000","offers":[{"title":"Default Title","offer_id":56215833543042,"sku":"PSAI001","price":0.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/PHOTO-2020-11-22-18-34-531-copia.jpg?v=1768429649"},{"product_id":"gregorio-sciltian-senza-titolo","title":"Gregorio Sciltian - Untitled","description":"\u003cp\u003eThe human figure has always been at the center of artistic research. Since the classical age, the naturalistic rendering of human anatomy has been a primary goal of painters and sculptors throughout history. The representation of the nude is the ultimate expression of this aspiration, pervasive across all eras and stylistic trends. Indeed, in addition to the naturalistic interpretations of the Renaissance and various classicisms, which aimed for a truthful and detailed representation of the human body, the nude has also played a leading role in the new aesthetic concepts brought about by the historical avant-garde movements, such as Cubism, Expressionism, and Surrealism.\u003cbr\u003e\n\u003cbr\u003e \nThis document is extremely interesting and important because it sheds light on a previously unseen and original aspect of the artist Gregorio Sciltian. Indeed, we can see how in this drawing, the renowned master of hyperrealism also displays a truly lively expressionistic verve. Although the main subject of the drawing is a study of the nude, the entire composition is interpreted in a grotesque manner, with satirical overtones on society and the artist himself, reminiscent of the biting irony of German New Objectivity or even the work of our own Franz Borghese. From a formal standpoint, it is extremely interesting to note Sciltian's fluid drawing style, which, with sinuous lines, elegantly deforms bodies, elongating or tapering them with remarkable naturalness.\u003c\/p\u003e\n\n\n \u003cp\u003eGregorio Sciltian, Italianized for Grigoriy Ivanovich Shiltyan (Rostov, 1900 – Rome, 1985), was an Armenian painter. In 1919, following the October Revolution, he left Russia and settled in Constantinople. His style took shape in the 1920s, when he returned to classical figuration, studying the works of the Italian Renaissance at the Academy and in the museums of Vienna. In 1923, he moved to Italy; he opened a studio in Rome and participated in the Second Rome Biennale in 1925. Roberto Longhi presented his solo exhibition at the Bragaglia art house. The critic emphasizes the distinctiveness of a painting style that revisits the Caravaggesque and Flemish traditions with a realism of impressive photographic fidelity: a lenticular perfection achieved with a compact palette and a technique borrowed from ancient painting.\u003c\/p\u003e","brand":"Mecca Federico","offers":[{"title":"Default Title","offer_id":56215834919298,"sku":"FMEC001","price":950.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/fronte-copia-scaled.jpg?v=1768429682"},{"product_id":"gregorio-sciltian-riflessione","title":"Gregory Sciltian - Reflection","description":"","brand":"Colabini Antonella 3000","offers":[{"title":"Default Title","offer_id":56215836983682,"sku":"ACOL002","price":0.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/IMG_2344-copia.png?v=1768429731"},{"product_id":"gregorio-sciltian-betsabea-2","title":"Gregory Sciltian - Bathsheba","description":"\u003cp\u003eBathsheba is a character from the Old Testament. Scripture narrates that King David fell in love with her when he saw her bathing while walking through his palace, so much so that he caused the death of her husband Uriah to win her. The iconography of Bathsheba is quite widespread in Italian painting, especially 16th-century Venetian painting, where a favorite subject is the female nude. Bathsheba is always depicted bathing or, as in this more modern interpretation by Sciltian, engaged in grooming with the help of a servant.\u003c\/p\u003e\n\n\n \u003cp\u003eGregorio Sciltian's style focuses heavily on enhancing the plastic qualities of objects. The painter shapes the volumes, emphasizes them with drawing, and highlights them with even lighting throughout the composition. In this way, the surfaces appear to be made of some precious, shiny material. Precisely for the purpose of fully enhancing plasticity, Sciltian eliminates any pictorial effect, achieving a style that can be described as hyperrealist, in which, however, the study of Caravaggism and Flemish painters also plays a fundamental role.\u003c\/p\u003e\n\n\n \u003cp\u003eGregorio Sciltian, Italianized for Grigoriy Ivanovich Shiltyan (Rostov, 1900 – Rome, 1985), was an Armenian painter. In 1919, following the October Revolution, he left Russia and settled in Constantinople. His style took shape in the 1920s, when he returned to classical figuration, studying the works of the Italian Renaissance at the Academy and in the museums of Vienna. In 1923, he moved to Italy; he opened a studio in Rome and participated in the Second Rome Biennale in 1925. Roberto Longhi presented his solo exhibition at the Bragaglia art house. The critic emphasizes the distinctiveness of a painting style that revisits the Caravaggesque and Flemish traditions with a realism of impressive photographic fidelity: a lenticular perfection achieved with a compact palette and a technique borrowed from ancient painting.\u003c\/p\u003e","brand":"Marconi Carla 9300","offers":[{"title":"Default Title","offer_id":56217885737346,"sku":"CMAR001","price":0.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/IMG_3666-copia.jpg?v=1768469128"},{"product_id":"sciltian-la-madonna-di-sciltian","title":"Gregory Sciltian - The Madonna of Sciltian","description":"\u003cp\u003eThe subject of the Madonna is probably one of the most popular iconographies throughout the history of both Western and Eastern art, most often represented with the iconographic motif of the Madonna and Child. The Madonna appears since the dawn of medieval painting and remained a constant subject as long as religious themes dominated artistic production (that is, until the 19th century when themes inspired by everyday life began to be introduced).\u003c\/p\u003e\n\n\n \u003cp\u003eGregorio Sciltian's style focuses heavily on enhancing the plastic qualities of his subjects. The painter enhances volumes, emphasizes them with drawing, and highlights them with even lighting throughout the composition. In this way, the surfaces appear to be made of some precious, shiny material. Precisely for the purpose of fully enhancing plasticity, Sciltian eliminates any pictorial effect, achieving a style that can be described as hyperrealist, in which, however, his study of Caravaggism and Flemish painters also plays a fundamental role. In this precious silver engraving, Sciltian transfers the distinctive features of his hyperrealism to a different artistic medium, achieving the same results. Indeed, the artist's skill in engraving is on par with his painting, and the silver surface enhances the painter's dense, precious plasticity.\u003c\/p\u003e\n\n\n \u003cp\u003eGregorio Sciltian, Italianized for Grigoriy Ivanovich Shiltyan (Rostov, 1900 – Rome, 1985), was an Armenian painter. In 1919, following the October Revolution, he left Russia and settled in Constantinople. His style took shape in the 1920s, when he returned to classical figuration, studying the works of the Italian Renaissance at the Academy and in the museums of Vienna. In 1923, he moved to Italy; he opened a studio in Rome and participated in the Second Rome Biennale in 1925. Roberto Longhi presented his solo exhibition at the Bragaglia art house. The critic emphasizes the distinctiveness of a painting style that revisits the Caravaggesque and Flemish traditions with a realism of impressive photographic fidelity: a lenticular perfection achieved with a compact palette and a technique borrowed from ancient painting.\u003c\/p\u003e","brand":"Giulio Schiazza 1500","offers":[{"title":"Default Title","offer_id":56218127991170,"sku":"GSCH004","price":1500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/IMG-5974_736e2c58-14ca-44ec-a395-10024ece36a1.jpg?v=1768471384"},{"product_id":"gregorio-sciltian-nudo","title":"Gregory Sciltian - Nude","description":"\u003cp\u003eThe human figure has always been at the center of artistic research. Since the age\u003cbr\u003e\n classical naturalistic rendering of human anatomy was one of the goals\u003cbr\u003e\n main works of painters and sculptors of all times. The representation of the nude is the\u003cbr\u003e\n maximum expression of this aspiration, transversal to all eras and\u003cbr\u003e\n all stylistic currents. In fact, in addition to naturalistic interpretations,\u003cbr\u003e\n typical of the Renaissance and of the various classicisms, which aim at a\u003cbr\u003e\n truthful and detailed representation of the human body, the nude was\u003cbr\u003e\n protagonist also within the new aesthetic concepts brought by the\u003cbr\u003e\n historical avant-gardes, such as cubism, expressionism and\u003cbr\u003e\n surrealism.\u003c\/p\u003e\n\n\n\u003cp\u003e The work is an example of the sculptural production of Gregorio Sciltian. In\u003cbr\u003e\n In this bas-relief the artist directs his research towards volumes and the\u003cbr\u003e\n movement. This particular work demonstrates how classical training\u003cbr\u003e\n had by Sciltian was fundamental in his career. The artist pursues\u003cbr\u003e \nan ideal of pure, harmonious beauty, through the creation of a volume\u003cbr\u003e\n balanced, almost geometric within the composition, but which takes\u003cbr\u003e\n life thanks to a soft model that softens its shapes.\u003c\/p\u003e\n\n\n\u003cp\u003e Gregorio Sciltian, Italianization of Grigorij Ivanovič Šiltjan (Rostov, 1900 –\u003cbr\u003e\n Rome, 1985), was an Armenian painter. In 1919, following the Revolution\u003cbr\u003e\n October leaves Russia and settles in Constantinople. His style is\u003cbr\u003e\n forming in the twenties, when he returned to classical figuration,\u003cbr\u003e\n studying the works of the Renaissance at the Academy and in the Museums of Vienna\u003cbr\u003e\n Italian. In 1923 he moved to Italy; he opened a studio in Rome and participated\u003cbr\u003e\n at the II Roman Biennale in '25. Roberto Longhi presents his personal exhibition\u003cbr\u003e\n at the Bragaglia art house. The critic takes stock of the uniqueness of a painting\u003cbr\u003e\n which recovers the Caravaggio and Flemish tradition with a realism of\u003cbr\u003e\n impressive photographic fidelity: a lenticular perfection achieved with\u003cbr\u003e \na material with a compact and technical colour scheme borrowed from ancient painting.\u003c\/p\u003e","brand":"Cattaneo Marco","offers":[{"title":"Default Title","offer_id":56218364117378,"sku":"MCAT001","price":1000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/image0_1319d09d-458c-4256-aace-abb1c6df8d1c.jpg?v=1768473045"},{"product_id":"gregorio-sciltian-le-quattro-stagioni","title":"Gregory Sciltian - The Four Seasons","description":"\u003cp\u003e The \"Still Life\" genre emerged in the early 17th century. It consisted of compositions of inanimate subjects, most often flowers or fruit. While initially it was an opportunity for painters to experiment with naturalistic or photographic reproductions of reality, with contemporary art, the \"Still Life\" also became a way of interpreting reality. Indeed, as happened, for example, in the Cubist avant-garde or in Giorgio Morandi, the in-depth exploration of objects was aimed at a conceptual representation, taken beyond the mere sensory aspect.\u003c\/p\u003e\n\n\n \u003cp\u003eGregorio Sciltian's style focuses heavily on enhancing the plastic qualities of objects. The painter highlights volumes, emphasizes them with drawing, and highlights them with even lighting throughout the composition. In this way, the surfaces appear to be made of some precious, shiny material. Precisely for the purpose of fully enhancing plasticity, Sciltian eliminates any pictorial effect, achieving a style that can be described as hyperrealist, in which, however, the study of Caravaggism and Flemish painters also plays a fundamental role.\u003c\/p\u003e\n\n\n \u003cp\u003eGregorio Sciltian, Italianized for Grigoriy Ivanovich Shiltyan (Rostov, 1900 – Rome, 1985), was an Armenian painter. In 1919, following the October Revolution, he left Russia and settled in Constantinople. His style took shape in the 1920s, when he returned to classical figuration, studying the works of the Italian Renaissance at the Academy and in the museums of Vienna. In 1923, he moved to Italy; he opened a studio in Rome and participated in the Second Rome Biennale in 1925. Roberto Longhi presented his solo exhibition at the Bragaglia art house. The critic emphasizes the distinctiveness of a painting style that revisits the Caravaggesque and Flemish traditions with a realism of impressive photographic fidelity: a lenticular perfection achieved with a compact palette and a technique borrowed from ancient painting.\u003c\/p\u003e","brand":"Boccia Antonino","offers":[{"title":"Default Title","offer_id":56218708935042,"sku":"ABOC001","price":2400.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/1_f2d8260a-2fb8-44b6-8e9c-6dd4738228d7.jpg?v=1768475928"},{"product_id":"gregorio-sciltian-vanitas-3","title":"Gregorio Sciltian - Vanitas","description":"\u003cp\u003eThe iconography of this painting certainly has allegorical meanings and can be defined, in some ways, as symbolist precisely because of its allusion to underlying meanings. It is a type of subject that can be traced back to the artistic language of late nineteenth-century painters such as Moreau, Bocklin, or Puvis des Chavannes, who, despite using a substantially figurative language, developed intellectually complex iconographies, full of symbolic and allegorical references.\u003c\/p\u003e\n\n\n \u003cp\u003eGregorio Sciltian's style focuses heavily on enhancing the plastic qualities of objects. The painter highlights volumes, emphasizes them with drawing, and highlights them with even lighting throughout the composition. In this way, the surfaces appear to be made of some precious, shiny material. Precisely for the purpose of fully enhancing plasticity, Sciltian eliminates any pictorial effect, achieving a style that can be described as hyperrealist, in which, however, the study of Caravaggism and Flemish painters also plays a fundamental role.\u003c\/p\u003e\n\n\n \u003cp\u003eGregorio Sciltian, Italianized for Grigoriy Ivanovich Shiltyan (Rostov, 1900 – Rome, 1985), was an Armenian painter. In 1919, following the October Revolution, he left Russia and settled in Constantinople. His style took shape in the 1920s, when he returned to classical figuration, studying the works of the Italian Renaissance at the Academy and in the museums of Vienna. In 1923, he moved to Italy; he opened a studio in Rome and participated in the Second Rome Biennale in 1925. Roberto Longhi presented his solo exhibition at the Bragaglia art house. The critic emphasizes the distinctiveness of a painting style that revisits the Caravaggesque and Flemish traditions with a realism of impressive photographic fidelity: a lenticular perfection achieved with a compact palette and a technique borrowed from ancient painting.\u003c\/p\u003e","brand":"Lotti Paolo","offers":[{"title":"Default Title","offer_id":56218709066114,"sku":"PLOT002","price":1100.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/SCILTIAN-VANITAS.jpg?v=1768475929"},{"product_id":"gregorio-sciltian-vanitas-4","title":"Gregorio Sciltian - Vanitas","description":"","brand":"Schiano Chiara","offers":[{"title":"Default Title","offer_id":56218914587010,"sku":"CSCH001","price":810.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/Cattura_8d76bcf0-ac02-406b-8812-97b50b8e7dc9.jpg?v=1768477284"},{"product_id":"gregorio-sciltian-vanitas-5","title":"Gregorio Sciltian - Vanitas","description":"","brand":"Giordano Marcello","offers":[{"title":"Default Title","offer_id":56219055784322,"sku":"MGIO002","price":800.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/sciltian-grafica-71x57-800.jpg?v=1768477830"},{"product_id":"gregorio-sciltian-flora","title":"Gregory Sciltian - Flora","description":"Gregory Shiltyan (1900-1985) Grigory Ivanovich Shiltyan was born in Nakhichevan, near Rostov-on-Don (Armenia), on August 20, 1900. Born into a wealthy family—his father a lawyer and his mother a descendant of a wealthy Armenian industrial family—after finishing high school, he moved to Moscow, where he continued his classical studies at the Adolfi Gymnasium and began to devote himself to the study of the figurative arts. After completing his initial painting studies in St. Petersburg, he left Russia in 1919 and went to Vienna, attending the Academy of Fine Arts and assiduously visiting museums, drawn in particular by Italian Renaissance art. Around 1923, he settled in Rome, where a solo exhibition of his work was held at the Casa d'Arte Bragaglia, introduced by Roberto Longhi. In Rome, Sciltian met several Italian intellectuals and various painters, including Antonio Baldini, Antonio Donghi, and Giuseppe Capogrossi. At the home of the painter Nino Bertoletti, he met Giorgio De Chirico, with whom he immediately struck up a friendship. Regarding his first stay in Rome, Sciltian writes in his memoirs: \"They were the last years of Baroque Rome, of pompous cardinals, of processions of hooded friars, of Caravaggio-esque policemen who were evoked by the fascists with caps and black bows, who strolled vigorously and noisily through the Roman streets. One could still see the painted carts pulled by donkeys led by the peasants, who came down from the Castelli Romani. In the Piazza \u003cspan class=\"morecontent\"\u003edi Spagna there were models in the picturesque costumes of Ciociaria. They were the last years of the romantic Rome of Pinelli and Léopold Robert, the Rome of Gogol, of Alexander Ivanov and Overbeck. People still rode in carriages, the taverns were overflowing with people tasting the wines of the Castelli. The wave of urbanization had not yet begun with the noise of scooters and cars, with neon lights, gas stations and bicycle thieves. In In 1924, Roman life continued to be a beautiful, flavorful, traditional seventeenth-century life. All around me were the masterpieces of the great masters who taught me to observe nature, to appreciate the picturesque and fascinating life that pulsated around me. In Piazza Capo di Ferro, next to Piazza Farnese, was the Pinacoteca di Palazzo Spada, full of Caravaggio paintings, and every morning, before beginning my work, I took a quick tour of the rooms. A stone's throw away was the church of San Luigi dei Francesi and next door the church of Sant'Agostino, with paintings by Caravaggio, Valentin, Bartolomeo Veneto, Holbein, and collections of marvelous drawings. Not a day went by that I didn't visit my Masters, and afterward I rushed full of fervor to my studio, to my easel and my palette. (Sciltian 1963, pp. 261-262) After participating in the 1926 Venice Biennale, where he exhibited his painting \"Biondo corsaro\" to great acclaim, he moved to Paris for a few years, painting primarily still lifes, common people, and everyday subjects influenced by 17th-century realism and aiming to reproduce, with photographic precision, the \"illusion of reality.\" Having returned to Italy permanently in 1934, he exhibited extensively in private galleries. At the 1940 Milan Triennale, he won a gold medal with a trompe l'oeil painting titled Il mobile dipinto (The Painted Furniture), and in 1942 he exhibited several works at the Venice Biennale. After the war, he actively participated in the \"Modern Painters of Reality\" group, which opposed the emerging abstract languages, and with them he exhibited in 1947 at the Galleria dell'Illustrazione in Milan. His painting, reviving 18th-century Realism, successfully addressed all the major themes of the 20th century without bowing to the trends imposed by the avant-garde. Sciltian's portraits of dozens of high society figures from Rome, Milan, and the Veneto are extremely famous, as are his captivating trompe-l'oeil compositions that amaze the observer. In 1947, he also worked as an illustrator, creating several sets for the Maggio Musicale Fiorentino and the Teatro alla Scala. Having subsequently moved to Rome, on the Lungotevere Sanzio, he worked on an interesting theoretical text on painting, and died there on April 1, 1985, leaving a notable legacy of works in dozens of public and private collections. De Chirico wrote of him: \"Gregorio Sciltian is the plastic artist par excellence. He is plastic when he paints, he is plastic when he speaks, he is plastic when he gesticulates\"; De Chirico also defined him as \"an oriental puppeteer\" and a \"creator of painted spectacles\" (1941). Bibliography M. Bernardi, Gregorio Sciltian, «Modern Art», 1941, no. 7. R. Breda, 1890-1940, Artists and Exhibitions, Rome, Nuova Galleria Campo dei Fiori, 2001, p. 437. I. Brin, «Cinema», 10 September 1942, no. 149. R. Civello, Sciltian - Opera omnia, Milan, Hoepli, 1986. G. Comisso, Gregorio Sciltian, Milan, Hoepli, 1943. G. De Chirico, «Style in the Home and Furnishings», 1941, no. 4. F. De Pisis, «Bulletin of the Galleria del Milione», 1-15 April 1941, no. 72. O. Lejkind, K. Makhrov, D. Severjuchin, The Russian Revolution, St. Petersburg, Notabene, 1999, pp. 626-627. M. Marzaduri, D. Rizzi, Writings on Russian Futurism, Bern, Peter Lang, 1991. F. Miele, Sciltian - The Eternal Illusion, Rome, Roman Institute of Art and Culture, 1970. G. Ponti, Sciltian's 5 Deceptions, Milan, Garzanti, 1942. G. Tintori, Two Hundred Years of the Teatro alla Scala. Chronology of Operas-Ballets-Concerts 1778-1977, Bergamo, Ed. Grafica Gutenberg, 1979, pp. 113, 365-367, 372. M. Verdone, Sciltian in Rome, «Strenna dei Romanisti», 1986, pp. 597-608. G. Waldemar, Sciltian and the Magic of Reality, Milan, Lacca, 1950.\u003c\/span\u003e","brand":"Laura Marzii","offers":[{"title":"Default Title","offer_id":56219270513026,"sku":"lmar004","price":800.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/sciltian_94673281-2b58-4588-818c-7b7dd7b2e5e3.jpg?v=1768479473"},{"product_id":"gregorio-sciltian-pane-e-vino","title":"Gregory Sciltian - Bread and Wine","description":"","brand":"Pastorelli Annamaria (1500)","offers":[{"title":"Default Title","offer_id":56219273429378,"sku":"APAS001","price":0.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/fronte-sciltian-pane-e-vino.jpg?v=1768479542"},{"product_id":"gregorio-sciltian-rustico-2","title":"Gregory Sciltian - Rustico","description":"","brand":"Pastorelli Annamaria (1500)","offers":[{"title":"Default Title","offer_id":56219273462146,"sku":"APAS002","price":0.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/fronte-sciltian-rustico.jpg?v=1768479544"},{"product_id":"gregorio-sciltian-gesu","title":"Gregory Sciltian - Jesus","description":"\u003cp\u003eThe figure of Christ has occupied a central role in the history of art, evolving over the centuries and reflecting the diverse cultural, theological, and artistic sensibilities of the eras. Christ is often depicted as the Good Shepherd, a beardless youth leading his flock, a symbol of his protective and redemptive function. Over time, the figure of Christ Pantocrator emerges, majestic and solemn, reigning as supreme judge, often depicted with a beard and an austere face. Later depictions of Christ focus on his suffering, with the Crucifixion and the suffering Christ at the center of iconography, expressing the piety and devotion of the period. In this case, Christ is depicted wearing the crown of thorns, in the moment of suffering shortly before the crucifixion.\u003c\/p\u003e\n\n\n \u003cp\u003eChrist's face is extremely significant; his gaze toward heaven, with an expression of pity, is fully captured within the graphic design. The drawing is enhanced by the well-defined chiaroscuro, with carefully calibrated highlights emphasizing the figure's suffering. Thanks to the reproduction technique, the graphic design fully enhances the drawing's characteristics. Lithography is a form of graphic art. The word itself derives from the Greek and means \"writing on stone.\" Indeed, the technique is based on the mutual repulsion of oily and aqueous materials. After initially preparing a very thick stone slab, the artist begins to create his drawing with a grease pencil. When the ink is applied to the stone, it adheres only to the drawing itself. Following previously marked lines on the stone, the sheet of paper is then placed on the slab and the whole is pressed, thus transferring and impressing the design onto the paper. Each color requires a separate plate. Thanks to the particularities of the technique, the graphic before us almost looks like a pencil drawing, precisely because of the porosity of the stone which, unlike other graphic techniques, results in a less incisive line.\u003c\/p\u003e\n\n\n \u003cp\u003eGregorio Sciltian, Italianized for Grigoriy Ivanovich Shiltyan (Rostov, 1900 – Rome, 1985), was an Armenian painter. In 1919, following the October Revolution, he left Russia and settled in Istanbul. His style took shape in the 1920s, when he returned to classical figuration, studying the works of the Italian Renaissance at the Academy and in the museums of Vienna. In 1923, he moved to Italy; he opened a studio in Rome and participated in the Second Rome Biennale in 1925. Roberto Longhi presents his solo exhibition at the Casa d'arte Bragaglia. The critic highlights the distinctiveness of a painting style that revisits the Caravaggesque and Flemish traditions with a realism of impressive photographic fidelity: a lenticular perfection achieved with a compact palette and a technique borrowed from ancient painting.\u003c\/p\u003e","brand":"Migani Ivana","offers":[{"title":"Default Title","offer_id":56219443757442,"sku":"IMIG006","price":900.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/sciltian-fronte.jpg?v=1768480988"},{"product_id":"inferno-purgatorio-paradiso-gregorio-sciltian","title":"Hell, Purgatory, Paradise - Gregorio Sciltian","description":"\u003ca href=\"https:\/\/www.venderequadri.it\/wp-content\/uploads\/2025\/02\/SCILTIAN-1.jpg\"\u003e\u003cimg class=\"alignnone size-medium wp-image-117413\" src=\"https:\/\/www.venderequadri.it\/wp-content\/uploads\/2025\/02\/SCILTIAN-1-221x300.jpg\" alt=\"\" width=\"221\" height=\"300\"\u003e\u003c\/a\u003e\u003ca href=\"https:\/\/www.venderequadri.it\/wp-content\/uploads\/2025\/02\/SCILTIAN-3.jpg\"\u003e\u003cimg class=\"alignnone size-medium wp-image-117414\" src=\"https:\/\/www.venderequadri.it\/wp-content\/uploads\/2025\/02\/SCILTIAN-3-220x300.jpg\" alt=\"\" width=\"220\" height=\"300\"\u003e\u003c\/a\u003e","brand":"Mura Antonio 2200€","offers":[{"title":"Default Title","offer_id":56220148007298,"sku":"AMUR006","price":2500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/SCILTIAN-2.jpg?v=1768489126"},{"product_id":"gregorio-sciltian-madonna-2","title":"Gregory Sciltian - Madonna","description":"","brand":"Persico Paolo (1500)","offers":[{"title":"Default Title","offer_id":56220296544642,"sku":"PPER002","price":0.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/Persico-riga-2.jpg?v=1768489926"},{"product_id":"gregorio-sciltian-autoritratto","title":"Gregorio Sciltian - Self-portrait","description":"","brand":"Bellia Caterina Candia","offers":[{"title":"Default Title","offer_id":56220635726210,"sku":"CBEL002","price":800.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/IMG_9218.jpg?v=1768491901"},{"product_id":"gregorio-sciltian-i-g-i-executor-donna-indiana","title":"Gregorio Sciltian (IGI executor) - Indian Woman","description":"","brand":"Monica carella","offers":[{"title":"Default Title","offer_id":56220753133954,"sku":"MCAR002","price":600.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/WhatsApp-Image-2025-10-24-at-15.10.34-3.jpg?v=1768492783"},{"product_id":"gregorio-sciltian-bambino","title":"Gregory Sciltian - Child","description":"","brand":"ANGELA MARANDOLA 1500€","offers":[{"title":"Default Title","offer_id":56220755100034,"sku":"AMAR002","price":0.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/IMG_1788_7b8f8c0c-ceb6-4f80-b088-a520e217c15b.jpg?v=1768492825"},{"product_id":"gregorio-sciltian-madonna","title":"Gregory Sciltian - Madonna","description":"","brand":"ANGELA MARANDOLA 1500€","offers":[{"title":"Default Title","offer_id":56220755198338,"sku":"AMAR003","price":0.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/IMG_1796.jpg?v=1768492825"},{"product_id":"gregorio-sciltian-gesu-2","title":"Gregory Sciltian - Jesus","description":"","brand":"Marandola Angeala 1500","offers":[{"title":"Default Title","offer_id":56220757229954,"sku":"AMAR001","price":0.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/IMG_1792_f90c3176-7b85-402c-a33d-21d449a11ddb.jpg?v=1768492838"},{"product_id":"gregorio-sciltian-senza-titolo-nudo-di-donna","title":"Gregorio Sciltian - Untitled (female nude)","description":"\u003cp\u003e\u003cstrong\u003eUntitled (Female Nude)\u003c\/strong\u003e by Gregorio Sciltian is an art print on paper measuring 90x60 cm.\u003c\/p\u003e\u003cp\u003eThe figurative subject and large format enhance the artwork's presence, making it suitable for an elegant display in a living room or study. The stated edition size and certificate reinforce its appeal to collectors.\u003c\/p\u003e\u003cp\u003eA fine choice for those who appreciate twentieth-century graphic art.\u003c\/p\u003e","brand":"BOTTOGLIA RODOLFO","offers":[{"title":"Default Title","offer_id":56640143982978,"sku":"RBOT001","price":1500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0909\/7065\/3058\/files\/1-fronte_78883cd8-f504-480c-9483-4ba9fc1ff3b2.jpg?v=1778494618"}],"url":"https:\/\/venderequadri.it\/en\/collections\/gregorio-sciltian.oembed?page=2","provider":"Venderequadri","version":"1.0","type":"link"}