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Bonaventura Bettera (bergamo 1663 - Documented Until 1718)By Bonaventura Bettera, Still life with musical instrumentsXVII Century
XVII Century
About the Item
Bonaventura Bettera (1663-1718 post)
Still life with musical instruments, sheet music and carpet
Oil on canvas, 85 x 110 cm
Framed, 111 x 138 cm
The painting we can observe here is fully in line with the Bergamasque tradition of still life with a musical subject, which from Evaristo Baschenis (1617 -1677), the actual originator of the genre, was transmitted to other Bergamasque painters, including the coeval Bartolomeo Bettera (1639- post 1688) and the latter's son Bonaventura (1663- post 1718), to whom this work can be assigned. Going beyond the subject matter, we can already infer the distinctive features that made the still lifes created by first Bartolomeo and then Bonaventura, who were born and raised in the land of Bergamo, evolve into a more sumptuous, contrastive, and opulent dimension; in fact, the family had origins that can be identified in the centers of the middle Val Seriana, particularly in Gandino and the valley of the same name, thus coming into contact with Baschenis' production. While Bartholomew traveled first to Rome and later to Milan in 1687, where he remained until his death, which probably occurred towards the end of the century, little is known about Bonaventura's biography, although works attributed to his hand are found mainly in collections in Lombardy and especially in Bergamo, thus suggesting an area of activity still linked to his homeland. Although tangents with Baschenis are evident in the subject matter, layout, and sense of realism, Bettera would distinguish himself by elaborating compositions marked by a greater concentration of objects, almost always referring to the musical realm, by a sumptuousness that can be well observed in the preciousness of the embroideries of carpets and curtains, gleaming and brightly colored, and by a more overstuffed arrangement characterized by more daring perspective views of the elements, stacked in an opulent and thoughtful disorder that creates a sort of stack in the center of the composition. These traits, inferred from the works of the father, are revealed with clarity, as can be seen in the virtuosic perspectives of the lutes and violins and by the use of precious blue and gold tones in the draperies and carpets, bright, vibrant and contrasting with the more mutedly colored half-light environment; in addition, one can note typical features of his compositions such as the partial and disjointed opening of the curtain, the pile of objects, the apparent disorder on the table, revealed by the crumpled sheet music, the misaligned and overlapping instruments, and the submerged books underneath, among which one can be identified with Tasso written on the spine, referring perhaps to Torquato Tasso, author of the famous Gerusalemme liberata, whose family belonged to the ancient Bergamasque nobility and was therefore linked to the same territory where Bettera worked. If the series of works by his father Bartholomew, often signed, constitute a more substantial and certain catalog, those by Bonaventura, on the other hand, are extremely rare and difficult to locate; two of his certain works are on display at the Pushkin State Museum of Fine Arts, Moscow, and reveal in the protruding warp of the canvas in the carpet parts, a distinctive trait with respect to Bartholomew, which we also find in our work. Several others have passed through the antiquarian market or are found in private collections, and in many of these one finds this peculiar detail, to which are then added a more homogeneous and opaque use of light and a particular taste for cool tones, such as blue and azure, also used in this canvas.
- Creator:Bonaventura Bettera (bergamo 1663 - Documented Until 1718)
- Creation Year:XVII Century
- Dimensions:Height: 33.47 in (85 cm)Width: 43.31 in (110 cm)
- More Editions & Sizes:85x110Price: $19,384
- Medium:
- Period:
- Condition:
- Gallery Location:Milan, IT
- Reference Number:1stDibs: LU2639216355042
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