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19th century, Still life with fruits
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Lombard school, 17th century, Still life with flowers

$5,657.39
£4,261.14
€4,800
CA$7,801.78
A$8,764.95
CHF 4,579.70
MX$106,980.34
NOK 58,148.83
SEK 54,734.87
DKK 36,535.78

About the Item

Lombard School, 17th century Still Life with Flowers Oil on canvas, 52 x 60 cm Framed, 67 x 76 cm The oil on canvas under consideration, depicting a floral jubilation emerging from a dark background, can be referred by stylistic and chromatic traits to the seventeenth-century Lombard school. Still life was originally born as a naturalistic detail with varied symbolic values, often inserted in the verso of some portraits or as a secondary detail in sacred scenes, only later going on to acquire its own autonomy. Italy, and specifically Lombardy, was among the most important manufacturing centers that developed in the late 16th and early 17th centuries. The work can be attributed to the hand of an artist from Lombardy who got to see the studied compositions of artists such as Giuseppe Volò known as Vicenzino (Milan, 1662-documented until 1700), a Lombard painter who following the example of Nuzzi, Mantovano, and the Flemish culture popularized by Abraham Brueghel. Belonging to the family of the so-called Vicenzini was Margherita Caffi, daughter of the French-born painter Vincenzo Volò from whom the aforementioned nickname is probably derived. Born in Cremona in 1647, Margherita Caffi is best known for her fruit and flower arrangements. She appears to have been admitted to the Accademia di San Luca in Milan, along with her sister and an unidentified Lucrezia Ferraria, starting February 2, 1697, according to a document found in the 2000s by Alberto Cottino. Among his patrons were the archdukes of Tyrol (in fact, many of his paintings are still in Austria today), the kings of Spain, and the grand dukes of Tuscany; in particular, his art was greatly appreciated by Vittoria Della Rovere. The last years of his existence were spent in Milan, where he started a flourishing local school of still life painters. Undoubtedly inspired by similar Nordic paintings, Caffi shows, in the extreme freedom of painterly draftsmanship, free and spirited brushwork, influences on the Venetian painting of Elisabetta Marchioni and the still lifes of the so-called Pseudo Guardi. In works such as the ovals preserved respectively at the Museo Civico Ala Polzone in Cremona and at the Museo della Natura morta, which moreover take up the cut of the canvas, one can trace stylistic features very similar to those present in the canvas under consideration: the dark background, the studied disorder of the plant elements, and the variety of species, which lends a chromatic richness given by the wide range of colors.
  • Dimensions:
    Height: 23.63 in (60 cm)Width: 20.48 in (52 cm)Depth: 0.79 in (2 cm)
  • Style:
    Other (Of the Period)
  • Materials and Techniques:
    Canvas,Oiled
  • Period:
    17th Century
  • Date of Manufacture:
    XVII Century
  • Condition:
    Wear consistent with age and use.
  • Seller Location:
    Milan, IT
  • Reference Number:
    1stDibs: LU5918245665042

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