Francesca Strino

STILL LIFE MUSICAL INSTRUMENTS- Francesca Strino Italian oil on canvas painting

2011

SFLOWERS - Oil on canvas painting, Francesca Strino, Italy., 2005 Gold leaf gilded and white lacquered wooden frame cm.37x31

STILL LIFE - Oil on canvas cn. 60x60 Francesca Strino Italy, 2005 Frame available on request.

Still life - Francesca Strino Italia 2005 - Oil on canvas cm.60x60 Frame available on request from our workshop.

Still life - Oil on canvas painting cm.25x35, Francesca Strino, Italy., 2005 Gold leaf gilded and white lacquered wooden frame cm.37x31 Beautilful and realistic still life, authenti...

Still life - Francesca Strino Italia 2011 - Oil on canvas cm.40x30 Frame available on request from our workshop.

Still life - Francesca Strino Italia 2011 - Oil on canvas cm.60x70. Frame available on request from our workshop.

Provenance: Selma Herringman, New York, ca. 1955-2013; thence by descent to: Private Collection, New York, 2013-2020 This seventeenth century Spanish still-life of a laden table, known as a bodegón, stands out for its dramatic lighting and for the detailed description of each object. The artist’s confident use of chiaroscuro enables the sliced-open squash in the left foreground to appear as if emerging out of the darkness and projecting towards the viewer. The light source emanates from the upper left, illuminating the array, and its strength is made apparent by the reflections on the pitcher, pot, and the fruit in the basket. Visible brush strokes accentuate the vegetables’ rough surfaces and delicate interiors. Although the painter of this striking work remains unknown, it is a characteristic example of the pioneering Spanish still-lifes of the baroque period, which brought inanimate objects alive on canvas. In our painting, the knife and the large yellow squash boldly protrude off the table. Balancing objects on the edge of a table was a clever way for still-life painters to emphasize the three-dimensionality of the objects depicted, as well a way to lend a sense of drama to an otherwise static image. The knife here teeters on the edge, appearing as if it might fall off the table and out of the painting at any moment. The shape and consistency of the squash at left is brilliantly conveyed through the light brush strokes that define the vegetable’s fleshy and feathery interior. The smaller gourds—gathered together in a pile—are shrouded partly in darkness and stand out for their rugged, bumpy exterior. The stoneware has a brassy glaze, and the earthy tones of the vessels are carefully modulated by their interaction with the light and shadow that falls across them. The artist has cleverly arranged the still-life in a V-shaped composition, with a triangular slice of cheese standing upright, serving as its pinnacle. Independent still-lifes only became an important pictorial genre in the first years of the seventeenth century. In Italy, and particularly through the revolutionary works of Caravaggio, painted objects became carriers of meaning, and their depiction and arrangement the province of serious artistic scrutiny. Caravaggio famously asserted that it was equally difficult to paint a still-life as it was to paint figures, and the elevation of this new art form would have profound consequences to the present day. In Spain Juan Sanchez Cotan...

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Still life painting of fruit in a basket Continental, c. 1800 Frame: Height 81cm, width 91cm, depth 7cm Canvas: Height 57cm, width 69c...

English School, circa 1827 A gentleman’s vices the newspaper dated ‘Sunday December 23 1827’ (upper left) oil on canvas 20 ¾ x 24 ½ in. (52.7 x 62.3 cm.) frame 25 ⅝ x 29 ¼ in. (65.1...

JUAN DE ARELLANO Spanish, 1614 - 1676 Cesta de Flores signed Juan de Arellano (lower lright) oil on canvas original period carved, gilt and polychr...

Juan Sánchez Cotán (1560 - 1627) was one of the most important still life painters in Spain and beyond. He developed a certain type of still life with...