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Neapolitan Still Life "Flowers in a Glass Jug" Oil on Canvas in Frame

unfamiliar

About the Item

Attributed to Giacomo Recco (1603-1653), still life "Glass jug with flowers," oil on canvas in gilt frame. This fine canvas depicts a glass pitcher filled with flowers resting on a stone base. The rigorous simplicity of this painting takes us to the first half of the 17th century and to the name of Giacomo Recco Giacomo Recco is considered by critics to be among the initiators of still life in Naples and the progenitor of a dynasty of painters specializing in still life, still sensitive to Mannerist taste and Flemish precedents, but capable of warming and animating his compositions, with an imaginative "Neapolitan" style. It is important to consider that in recent years, confirming once again the confusion that reigns in the field of attribution, numerous works have been sold at auction, more or less forcibly ceded to Giacomo Recco, who has thus become a painter without paintings, the artist of reference for a host of anonymous authors of the most varied floral paintings, and whose coveted florist container goes in and out of the most disparate canvases. The canvases attributed to Giacomo Recco by leading experts reveal not only an artist of great skill and profound culture, but also an expert in heraldry and a connoisseur of symbolic meanings, as well as a great connoisseur of Flemish figurative experiences. He, too, was probably in the position of an established painter, able to get himself mentioned in the circles that matter, such as this receiving commissions from important cardinals and noble families. The works grouped under the name of Giacomo Recco display a number of quite distinctive features that are an expression of an artistic personality still attracted to the sixteenth-century repertoire little or not at all affected by the results of luministic investigations and at the same time strongly influenced by the affectation and artificiality of Flemish development. In Recco's painting, the vase becomes the focal point of the composition and has the same dignity as the flowers, which are always symmetrically arranged and unnaturally lit, though minutely defined in their optical truth. The flowers are all colorful expressions of early spring bloom: daffodils, hyacinths, marigolds, anemones, tulips. They are detached from each other with some corollas facing downward and are studied separately even when they overlap, crowding into the dark background. The slightly calligraphic execution betrays an ancient air that reminds us of earlier examples. The treatment of light is classic proto-Caravaggesque with punctilious attention to enhancing the color values of the flowers, which are schematically arranged and materialize toward the viewer of the painting. Giacomo Recco's artistic and cultural matrices are difficult to define, although one must consider the presence in Naples around 1590 of Jan Brueghel and the persistence in the city, as Tecce points out, of a refined handful of late Mannerists, active until the middle of the third decade of the seventeenth century. A considerable influence undoubtedly derived from the growing fame in Europe of the Nordic florists, linked to a decoratism still in 16th-century taste, and soon from the lesson of Caravaggesque luminism that was beginning to shape genre painting in Rome. . The pictorial production that comes closest to the evidence of ours is that of Osias Beert the Elder, as repeatedly pointed out in his essays Veca. Giacomo Recco's fame is linked to his skill as a florist, almost as a specialist in the specialty. The painting is close to the earliest Recco paintings, the restraint, the symmetry, the centrality of these canvases. It can be compared with the canvas "Still Life with Vase of Flowers," 1626, Rivet collection in Paris, catalog La natura morta italiana, 1964, p. 39. Although the painting is in excellent condition, it was restored to remove an old lining and bring back the original canvas, replacing it with a simple trace on the edges. The original frame had already been replaced at the time of lining. In a 17th-century Salvator Rosa gilded wood frame. Canvas 79 x 64 cm With frame 90 x 73 cm
  • Attributed to:
    Giacomo Recco (Naples 1603 - before 1653) (1630 - 1680)
  • Creation Year:
    unfamiliar
  • Dimensions:
    Height: 35.44 in (90 cm)Width: 28.75 in (73 cm)
  • More Editions & Sizes:
    tela cm 79 x 64Price: $14,487
  • Medium:
  • Movement & Style:
  • Period:
  • Condition:
  • Gallery Location:
    Pistoia, IT
  • Reference Number:
    1stDibs: LU2746215404612

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