{"title":"Religious Paintings","description":"","products":[{"product_id":"flight-egypt-holy-family-garland-flemish-brueghel-oil-panel","title":"17th FLEMISH SCHOOL Brueghel The Flight to Egypt with Floral Garland, Flemish Oil on Panel, Circle of Jan Peeter Brueghel, Framed EGYPT Holy Family GARLAND Rare Antique Oil","description":"\u003ch2\u003eThe Holy Family on the Flight to Egypt in a Garland of Flowers\u003c\/h2\u003e\n\u003cp\u003eAt the center of the composition, the Virgin holds the Christ Child on her lap while Joseph stands behind them. The figures are framed within a large oval garland of flowers that fills the entire surface of the panel. Roses, tulips, morning glories, and other blooms are painted in dense clusters against a dark background, creating a vivid ring of color around the sacred scene. The garland is rendered with attention to each petal and leaf, with light falling unevenly across the flowers to produce depth and volume. The palette pairs the warm flesh tones and blue drapery of the central figures with the reds, pinks, whites, and greens of the surrounding floral arrangement.\u003c\/p\u003e\n\n\n\u003ch2\u003eFlemish Garland Painting in the Second Half of the 17th Century\u003c\/h2\u003e\n\u003cp\u003eThe garland painting was a distinctly Flemish genre that emerged in Antwerp in the early 1600s, pioneered by Jan Brueghel the Elder and Daniel Seghers. These works combined a central religious or allegorical scene, often painted by a figure specialist, with a surrounding wreath of flowers executed by a still-life painter. By the second half of the century, workshops in Antwerp continued this collaborative tradition. Jan Peeter Brueghel, grandson of Pieter Brueghel the Elder, was active in this circle and produced floral compositions in the family manner. The use of oil on wood panel was standard for small-format devotional works in the Southern Netherlands, where collectors displayed them in private cabinets alongside other precious objects.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57214927405388,"sku":"850","price":6900.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/Flight_to_Egypt_with_floral_garland_Flemish_oil_on_wood_panel_framed_17th_century_Old_Master_painting.png?v=1778612058"},{"product_id":"adoration-magi-flemish-old-master-oil-painting-17th-century-baroque-religious","title":"Flemish School, Adoration of the Magi, 17th Century Old Master Oil Painting, Framed","description":"\u003ch2\u003eThe Adoration of the Magi\u003c\/h2\u003e\n\u003cp\u003eThis oil on canvas presents the biblical episode of the three\nMagi paying homage to the infant Christ (Matthew 2:1-12). The scene\nis set within a ruined architectural setting, with the Virgin Mary\nholding the Child at center while the eldest king kneels in\nveneration. The two remaining kings stand nearby bearing gifts,\ndressed in rich robes of red, blue, and gold. Attendants and\nonlookers fill the background, creating a dense and animated\ncomposition. The warm palette, dramatic contrasts of light and\nshadow, and the carefully rendered fabrics and expressions are\ncharacteristic of Flemish Baroque painting from this period. The\ncanvas has been relined, indicating early conservation attention.\u003c\/p\u003e\n\n\n\u003ch2\u003eFlemish Nativity Painting in the 17th Century\u003c\/h2\u003e\n\u003cp\u003eThe Adoration of the Magi was one of the most popular subjects\nin Flemish art during the 17th century. Workshops in Antwerp and\nBrussels produced these compositions for churches, monasteries,\nand private devotional collections across Catholic Europe. Painters\nworked within an established visual tradition inherited from\nearlier masters, combining Northern realism in the treatment of\nfaces and textiles with Italianate architectural backgrounds.\nThese multi-figure compositions served both devotional and\ndecorative purposes, and were often acquired by collectors in\nFrance, Spain, and the Southern Netherlands.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57214931468620,"sku":"920","price":7900.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/Adoration_of_the_Magi_17th_century_Flemish_Old_Master_oil_painting_in_original_frame_baroque_religious_artwork.jpg?v=1778175417"},{"product_id":"fire-sodom-lot-daughters-flemish-old-master-painting","title":"The Fire of Sodom, Lot and His Daughters, Flemish Old Master Oil on Panel, Close to Gillis Mostaert, Framed","description":"\u003ch2\u003eThe Destruction of Sodom with Lot and His Daughters Fleeing\u003c\/h2\u003e\n\u003cp\u003eA city burns in the background under a sky filled with smoke and sulfurous light, its towers collapsing into flame. In the foreground, Lot sits with his two daughters in a rocky landscape, separated from the destruction behind them. One daughter turns toward her father while the other looks outward, the red and orange glow of the distant fire reflected on their skin and clothing. The composition divides sharply between the apocalyptic ruin of Sodom and the still, human scene in the foreground. The palette moves from deep browns and greens in the rocks and vegetation to intense reds and yellows in the burning city, with a column of pale smoke rising into the upper register.\u003c\/p\u003e\n\n\n\u003ch2\u003eFlemish Biblical Landscape Painting at the Turn of the 17th Century\u003c\/h2\u003e\n\u003cp\u003eThe destruction of Sodom and Gomorrah was a popular subject among Flemish painters in the late 16th and early 17th centuries. Artists in Antwerp and Brussels combined landscape painting with biblical narrative, placing small human figures in vast, dramatic settings. The tradition drew on the innovations of Joachim Patinir and Herri met de Bles, who had established the \"world landscape\" format in the early 1500s. By the 1590s, painters such as Gillis Mostaert and his circle were producing compact panels that paired carefully observed natural detail with scenes of divine punishment. These works were made for private collectors and often displayed alongside other Old Testament subjects. The use of oil on wood panel, sometimes assembled from two plates joined together, was standard workshop practice in the Southern Netherlands during this period.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57214931960140,"sku":null,"price":8700.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/Fire_of_Sodom_with_Lot_and_his_Daughters_Flemish_Old_Master_oil_on_wood_panel_framed_biblical_painting.jpg?v=1778193761"},{"product_id":"mary-magdalene-penitent-italian-old-master-baroque-oil-painting-framed","title":"Italian Old Master Oil Painting, Mary Magdalene Penitent, 17th Century Baroque Original on Canvas, Framed","description":"\u003ch2\u003eThe Penitent Magdalene\u003c\/h2\u003e\n\u003cp\u003eMary Magdalene is shown in half-length, her eyes cast upward and her hands clasped or resting near a skull, the traditional vanitas symbol of mortality and repentance. Her hair falls loose over bare shoulders, and the palette moves between warm flesh tones, dark earth colors in the background, and cooler passages where light strikes the skin. The composition is built on strong contrasts between the illuminated figure and the surrounding darkness, with the light source coming from above and to one side, modeling the form in sharp relief against the black ground.\u003c\/p\u003e\n\u003ch2\u003eItalian Baroque Religious Painting in the 17th Century\u003c\/h2\u003e\n\u003cp\u003eThe Penitent Magdalene was among the subjects most frequently painted by Italian artists during the 1600s. The theme allowed painters to combine religious devotion with the study of the human figure, drapery, and dramatic lighting. Artists across Italy produced versions of this subject, drawing on the influence of Caravaggio and his followers who established the use of tenebrism, the contrast between deep shadow and focused illumination. The half-length format with upward gaze and vanitas objects (skull, book, crucifix) became a standard composition repeated throughout the century in workshops from Rome to Naples, Bologna, and Venice.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57214938644812,"sku":"GC-RELI-17-001","price":12000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/Italian_Old_Master_oil_painting_of_Mary_Magdalene_penitent_17th_century_Baroque_framed.png?v=1777653622"},{"product_id":"christ-samaritan-woman-well-old-master-oil-painting-18th-century-french-religious","title":"18th Century French Old Master Oil Painting, Christ and the Samaritan Woman at the Well, Unframed","description":"\u003ch2\u003eChrist and the Samaritan Woman at the Well\u003c\/h2\u003e\n\u003cp\u003eThis oil on canvas presents the biblical encounter between Christ and the Samaritan woman beside a stone well. Set against a warm, sunlit landscape with trees and classical architecture receding into the distance, the scene follows the Gospel of John (4:1-42). The two central figures are rendered with soft modeling and a palette of earth tones, golden highlights, and muted blues. The composition uses a diagonal arrangement, with Christ seated at left and the woman standing with her water vessel, creating a sense of quiet dialogue within the broader landscape setting.\u003c\/p\u003e\n\u003ch2\u003eReligious Painting in 18th Century France\u003c\/h2\u003e\n\u003cp\u003eIn 18th century France, religious painting continued as a major tradition even as secular subjects gained ground among Parisian patrons. The story of Christ meeting the Samaritan woman at Jacob's well was a favored subject, often commissioned for private chapels and devotional spaces in aristocratic households. Provincial painters and those working for ecclesiastical patrons produced large biblical compositions rooted in the Baroque tradition throughout this period. The warm palette and soft lighting seen in French works of this era reflect the influence of Italian masters, particularly the Bolognese school, filtered through French academic training. These paintings served both devotional and decorative purposes across France.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57215062245708,"sku":"500","price":4830.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/Christ_and_the_Samaritan_Woman_at_the_Well_18th_century_French_oil_painting_Old_Master_religious_artwork.png?v=1778175084"},{"product_id":"madonna-child-after-raphael-sanzio-oil-canvas-19th-century","title":"Madonna and Child with St. John the Baptist, After Raphael Sanzio, 19th Century Oil on Canvas, Framed","description":"\u003ch2\u003eMadonna and Child with St. John the Baptist\u003c\/h2\u003e\n\u003cp\u003eThis oil on canvas presents the Madonna with the Christ Child and the young St. John the Baptist, following a composition by Raphael Sanzio (1483-1520). The Virgin is depicted holding the Child on her lap while St. John approaches from the side. The figures are placed within a landscape that includes distant hills and a soft sky. The modeling of the faces is smooth and rounded, consistent with the Raphaelesque tradition. The canvas has been relined on a second canvas, indicating past conservation. The palette is restrained, with warm skin tones set against muted greens and blues in the background. The painting is presented in its period frame.\u003c\/p\u003e\n\n\n\u003ch2\u003eCopying Raphael: A European Tradition\u003c\/h2\u003e\n\u003cp\u003eCopying the works of Raphael was a central practice in European painting from the 16th century onward. In the early 19th century, students at the academies of Paris, Rome, and Florence were trained by reproducing the compositions of the Old Masters, and Raphael's Madonnas were among the most frequently copied subjects. These copies served as study exercises, as devotional images for private collections, and as records of compositions that were not always accessible to the public. A well-executed 19th century copy after Raphael is both a document of the academic tradition and a painting in its own right, reflecting the skill and training of its maker. The relined canvas on this work indicates that it has been valued and maintained over the course of its life.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57215072764236,"sku":null,"price":3800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/Madonna_and_Child_with_St._John_the_Baptist_after_Raphael_Sanzio_19th_century_oil_on_canvas_framed.png?v=1778276496"},{"product_id":"circle-van-diepenbeeck-mary-magdalene-repentant-oil-copper-17th-century","title":"Mary Magdalene Repentant, Circle of Abraham Van Diepenbeeck, 17th Century Flemish Oil on Copper, Framed","description":"\u003ch2\u003eMary Magdalene Repentant\u003c\/h2\u003e\n\u003cp\u003eThis oil on copper depicts Mary Magdalene in a posture of prayer, her eyes open and her hands crossed. The figure is rendered against a dark background that isolates the subject and draws attention to the modeling of the skin and the fall of light across the figure. The small format of the copper support allows for fine detail in the rendering of the face and hands. The painting bears an attached monogram AD, and a cartouche on the back attributes the work to Abraham Van Diepenbeeck. An expertise label from Cabinet Turquin in Paris is present on the reverse, indicating the work has been examined by a recognized authentication authority. The painting is presented in its frame.\u003c\/p\u003e\n\n\n\u003ch2\u003eAbout Abraham Van Diepenbeeck (1607-1675)\u003c\/h2\u003e\n\u003cp\u003eAbraham Van Diepenbeeck was a Flemish painter, draughtsman, and stained glass designer born in 's-Hertogenbosch in 1607. He trained in Antwerp and became a master in the Guild of Saint Luke in 1636. Van Diepenbeeck worked closely with Peter Paul Rubens and was influenced by his compositional approach and handling of light. After Rubens's death in 1640, Van Diepenbeeck continued to work in the Antwerp tradition, producing religious paintings, mythological scenes, and designs for prints. He was also active as a designer of stained glass windows for churches across the Southern Netherlands. His oil paintings on copper are noted for their refined technique and careful attention to light effects on small-scale figures. Van Diepenbeeck died in Antwerp in 1675.\u003c\/p\u003e\n","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57215076958540,"sku":"635","price":5600.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/Mary_Magdalene_Repentant_attributed_to_Van_Diepenbeeck_17th_century_oil_on_copper_framed_Flemish_painting.png?v=1778278968"},{"product_id":"hagar-ishmael-angel-biblical-oil-painting-18th-century","title":"Hagar and Ishmael Saved by the Angel, 18th Century Biblical Oil Painting, Attributed to Januarius Zick","description":"\u003ch2\u003eHagar and Ishmael Rescued by the Angel in the Desert\u003c\/h2\u003e\n\u003cp\u003eA woman reclines in the shade of a tree, one arm draped over a sleeping child, while an angel descends from above with outstretched wings and a gesture of comfort. The scene unfolds in a rocky wilderness, with dark pines and a faint opening of sky behind the figures. The angel's drapery catches light in pale blue and white, contrasting with the warm ochre and brown tones of the earth. Hagar's expression holds both exhaustion and a quiet awareness of the divine presence. The brushwork is fluid, with soft transitions between shadow and illumination across the figures.\u003c\/p\u003e\n\n\n\u003ch2\u003eGerman Rococo Religious Painting in the Late 18th Century\u003c\/h2\u003e\n\u003cp\u003eReligious subjects remained central to German painting throughout the 18th century, particularly in the Catholic regions of southern Germany. Artists working in the Rococo tradition favored dynamic compositions, warm palettes, and dramatic contrasts between light and shadow for biblical narratives. The story of Hagar and Ishmael in the desert (Genesis 21) was a recurring theme, valued for its emotional intensity and the interplay between human vulnerability and divine intervention. Painters active in this period often trained in Italy or studied the works of Tiepolo and Piazzetta, absorbing the Venetian approach to color and movement. The result was a distinctly German interpretation of the Rococo style, combining Italian theatricality with Northern European attention to landscape and atmosphere.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57215082398028,"sku":"500","price":5800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/Hagar_and_Ishmael_saved_by_the_Angel_18th_century_German_Rococo_oil_painting_biblical_Old_Master_artwork.png?v=1778173042"},{"product_id":"christ-samaritan-oil-panel-old-master-17th-century","title":"Christ and the Samaritan Woman at the Well, 17th Century Oil on Wood Panel, Framed Old Master Painting","description":"\u003ch2\u003eChrist and the Samaritan Woman at the Well\u003c\/h2\u003e\n\u003cp\u003eThis panel painting depicts the encounter between Christ and the Samaritan woman at Jacob's well, a scene from the Gospel of John (4:1-26) that was among the most frequently represented New Testament subjects in European art. Christ is shown seated in conversation with the woman, who holds a vessel near the well, her posture and gesture suggesting the moment of theological exchange described in the biblical text. The landscape behind them opens into a broad vista with architectural elements, distant hills, and a sky that recedes through carefully graded tones of blue and grey. The palette is warm in the foreground, with rich earth tones in the clothing and the stone of the well, transitioning to cooler hues in the receding landscape. The figures are positioned in the left half of the composition, with the well serving as the narrative anchor between them and the landscape providing spatial depth. The brushwork on the wood panel is detailed and precise in the figures, with careful attention to the drapery and facial expressions, and becomes looser in the background, creating depth through atmospheric gradation.\u003c\/p\u003e\n\n\n\u003ch2\u003eBiblical Narrative Painting in 17th Century European Art\u003c\/h2\u003e\n\u003cp\u003eThe story of Christ and the Samaritan woman was among the most frequently depicted New Testament subjects in European painting of the 17th century, appearing in works by both major masters and workshop painters across the continent. The scene offered painters an opportunity to combine figural narrative with landscape, placing a moment of theological significance within a naturalistic outdoor setting that allowed for the display of compositional and atmospheric skill. In the Baroque period, this subject was treated by artists across the Netherlands, Italy, and France, each bringing regional traditions of color, composition, and light to the established iconography. Oil on wood panel remained a preferred support in Northern European workshops well into the 1600s, valued for its smooth surface, durability, and the fine detail it allowed. The presence of a panel maker's mark on the reverse of this work points to a professional workshop context, indicating that the panel was prepared by a specialist before being painted.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57222043173196,"sku":"280","price":5300.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/Close-up_of_Christ_figure_in_conversation_with_Samaritan_woman_17th_century_oil_on_panel_warm_tones.png?v=1778608104"},{"product_id":"christ-samaritan-woman-oil-panel-old-master-17th-century","title":"Christ and the Samaritan Woman at the Well, 17th Century Oil on Wood Panel, Framed Old Master Painting","description":"\u003ch2\u003eChrist and the Samaritan Woman at the Well\u003c\/h2\u003e\n\u003cp\u003eThis panel painting depicts the encounter between Christ and the Samaritan woman at Jacob's well, a scene from the Gospel of John (4:1-26) that was among the most frequently represented New Testament subjects in European art. Christ is shown seated in conversation with the woman, who holds a vessel near the well, her posture and gesture suggesting the moment of theological exchange described in the biblical text. The landscape behind them opens into a broad vista with architectural elements, distant hills, and a sky that recedes through carefully graded tones of blue and grey. The palette is warm in the foreground, with rich earth tones in the clothing and the stone of the well, transitioning to cooler hues in the receding landscape. The figures are positioned in the left half of the composition, with the well serving as the narrative anchor between them and the landscape providing spatial depth. The brushwork on the wood panel is detailed and precise in the figures, with careful attention to the drapery and facial expressions, and becomes looser in the background, creating depth through atmospheric gradation.\u003c\/p\u003e\n\n\n\u003ch2\u003eBiblical Narrative Painting in 17th Century European Art\u003c\/h2\u003e\n\u003cp\u003eThe story of Christ and the Samaritan woman was among the most frequently depicted New Testament subjects in European painting of the 17th century, appearing in works by both major masters and workshop painters across the continent. The scene offered painters an opportunity to combine figural narrative with landscape, placing a moment of theological significance within a naturalistic outdoor setting that allowed for the display of compositional and atmospheric skill. In the Baroque period, this subject was treated by artists across the Netherlands, Italy, and France, each bringing regional traditions of color, composition, and light to the established iconography. Oil on wood panel remained a preferred support in Northern European workshops well into the 1600s, valued for its smooth surface, durability, and the fine detail it allowed. The presence of a panel maker's mark on the reverse of this work points to a professional workshop context, indicating that the panel was prepared by a specialist before being painted.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57222061621580,"sku":"550","price":5800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/Christ_and_the_Samaritan_Woman_at_the_well_17th_century_oil_on_wood_panel_framed_Old_Master_painting.png?v=1778606775"},{"product_id":"saint-john-baptist-oil-painting-mignard-circle-baroque","title":"Saint John the Baptist as a Child, French Baroque Oil on Canvas, Circle of Pierre Mignard, Gilt Frame","description":"\u003ch2\u003eSaint John the Baptist as a Child with the Lamb\u003c\/h2\u003e\n\u003cp\u003eA young Saint John the Baptist sits in a rocky grotto, one arm resting on a wooden cross while the other reaches toward a lamb pressed against his side. His skin catches a warm, directed light that isolates him from the dark cave behind. A red and white drape wraps loosely around his lower body. Through an opening in the rock on the right, a distant view shows the silhouette of Vesuvius and the Bay of Naples under a pale blue sky. The palette is built on contrasts between the dark interior of the grotto and the luminous flesh tones, with touches of green foliage at the edges of the composition.\u003c\/p\u003e\n\n\n\u003ch2\u003eFrench Baroque Devotional Painting in the Late 17th Century\u003c\/h2\u003e\n\u003cp\u003eThe depiction of Saint John the Baptist as a young child with the Agnus Dei was a recurring subject in French painting during the reign of Louis XIV. Workshops in Paris produced devotional images for private chapels, convents, and the collections of the nobility. Pierre Mignard, Premier Peintre du Roi from 1690, ran a productive atelier that carried out commissions in his manner. His workshop produced numerous religious compositions that circulated through the French art market. The soft modeling of flesh, the controlled lighting, and the inclusion of a landscape background seen through an opening are characteristic features of this circle. Oil on canvas with a later relining was a standard conservation measure applied to 17th century French paintings during the 18th and 19th centuries.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57228458623308,"sku":"980","price":6300.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/Saint_John_the_Baptist_as_a_child_with_lamb_French_Baroque_oil_on_canvas_gilt_framed_17th_century_painting.png?v=1778263651"},{"product_id":"ecce-homo-old-master-oil-painting-17th-century-italian-baroque-framed","title":"Ecce Homo, 17th Century Old Master Oil on Canvas after Correggio, Italian Baroque, Framed","description":"\u003ch2\u003eChrist in Suffering: an Ecce Homo from the Italian Baroque\u003c\/h2\u003e\n\u003cp\u003eThis oil painting depicts Christ at the moment of his presentation to the crowd, bound and wearing the crown of thorns. The figure emerges from a dark, undefined background, the face turned slightly to the left, eyes cast downward. Light falls across the bare torso and illuminates the hands clasped together at the wrist. The brushwork is fluid across the skin tones, with warm ochres and pinks layered against the cool shadow of the drapery. The composition is tight, focused entirely on the upper body and face, in the Italian tradition of devotional half-length figures.\u003c\/p\u003e\n\n\n\u003ch2\u003eThe Ecce Homo in Italian Baroque Devotional Painting\u003c\/h2\u003e\n\u003cp\u003eThe Ecce Homo was among the most widely painted subjects in Italian art from the late 1500s through the 1700s. The theme, drawn from the Gospel of John, became a vehicle for artists to explore the depiction of human suffering and divine grace within a concentrated format. Antonio Allegri da Correggio (1489-1534), the Parma-born master, produced several versions of this subject that became models for later painters. Copies and school works after Correggio circulated throughout Italy for over two centuries, reflecting both the enduring demand for devotional imagery and the influence of his soft, luminous painting style on successive generations.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57228515279180,"sku":"GC-RELIG-17-002","price":11000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/57_714ba0ed-d627-4df1-99a9-75e61ba8142f.jpg?v=1775814153"},{"product_id":"rebecca-eliezer-after-poussin-old-master-oil-painting-french-biblical","title":"After Nicolas Poussin, Rebecca and Eliezer at the Well, French Old Master Oil Painting, Unframed","description":"\u003ch2\u003eRebecca and Eliezer at the Well\u003c\/h2\u003e\n\u003cp\u003eThis oil on canvas depicts the Old Testament scene of Rebecca\noffering water to Eliezer, Abraham's servant, at the well (Genesis\n24). The composition follows the celebrated original by Nicolas\nPoussin, now held at the Louvre in Paris. Multiple figures surround\nthe central encounter, carrying water vessels and observing the\nexchange. The palette is built on warm earth tones with touches of\nblue and red drapery against a landscape backdrop with classical\narchitecture. The handling of the figures and the spatial arrangement\nreflect a close study of Poussin's original composition.\u003c\/p\u003e\n\n\n\u003ch2\u003eCopies After Poussin in 18th and 19th Century France\u003c\/h2\u003e\n\u003cp\u003eNicolas Poussin (1594-1665) was among the most copied Old Masters\nin France. His compositions were reproduced by students, academic\npainters, and provincial workshops for centuries after his death. The\nFrench Royal Academy regarded Poussin as the model of classical\npainting, and copying his works was a standard exercise in academic\ntraining. Many of these copies were commissioned for private\ncollections, churches, and aristocratic residences across France.\nThis tradition of reproduction peaked during the late 18th and early\n19th centuries, when Neoclassical taste renewed interest in Poussin's\nbalanced compositions and biblical narratives.\u003c\/p\u003e","brand":"GalerieClub Fine Art","offers":[{"title":"Default Title","offer_id":57228522127692,"sku":null,"price":4700.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1048\/4911\/3420\/files\/57_407d9b22-1366-4491-8d62-3a3861175a76.png?v=1775814183"}],"url":"https:\/\/galerieclub.com\/collections\/religious.oembed?page=2","provider":"GalerieClub Fine Art","version":"1.0","type":"link"}