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Neapolitan school, 18th century, Flower vase on marble base
$3,473.45
£2,574.01
€2,900
CA$4,741.91
A$5,275.18
CHF 2,765.32
MX$64,461.46
NOK 35,212.87
SEK 33,148.04
DKK 22,080.35
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About the Item
Neapolitan school, 18th century
Flower vase on marble base
Oil on canvas, 54 x 73 cm
Framed, 64 x 83 cm
The still life depicting, foreshortened from below, a metal vase on a stone base with a riot of flowers of different species on a completely dark background. Relevance to the Neapolitan school can be found in the production of painters such as Francesco Lavagna (1684 - 1749) or Gaspare Lopez (1677-1732). Lavagna possesses a style particularly close to that of Gaspare Lopez, an important artist responsible for the execution of marvelous still lifes in the Neapolitan sphere, so much so that, although the documentary sources are insufficient to trace the former's apprenticeship with absolute certainty, it is believed that Lopez's master, namely Andrea Belvedere, can also be considered the same. It should also be noted how the lenticular focus in rendering the petals recalls Flemish examples, such as that of Abraham Brueghel (1631-1697), a painter descendant of an illustrious dynasty who traveled in Italy touching Rome and also Naples, where many painters could admire his examples, including precisely the Belvedere. Other foreign artists who influenced the work of their Neapolitan colleagues in the first decades of the eighteenth century were Jean-Baptiste Monnoyer and Jean Baptiste Gayot Dubuisson who transmitted a decorative, rich and elegant taste into the Neapolitan environment as a declination of the French style. The foreshortening from below, the floral taste declined in the multiple species, and the same vase shape and material find parallels in the works of the two Neapolitan painters, although the dark and dimly lit off-screen environment makes the tones different, more vibrant and iridescent thanks to the chiaroscuro, highlighted on the surface of the petals. In general, we can see how in this work the composition is reminiscent of that of the early 18th-century Neapolitan school, influenced by the more ornamental compositions of the French school, while the tones, the chiaroscuro, the dark setting, and the strong realism of the floral elements are mainly reminiscent of a still life closer to the realism that had distinguished Neapolitan still life in the previous century, namely that of Giuseppe Recco (1634-1695), Giovanni Battista Ruoppolo (1629-1693) or Paolo Porpora (1617-1673). The unity of the school from a cultural point of view allowed for a constant and common evolution that did not exclude influences from abroad and held in high regard the teachings of the masters of a still very near past, ensuring a line of continuity between the seventeenth and eighteenth centuries in this pictorial genre up to Lavagna and Lopez.

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