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Scuola napoletana, XVIII secolo, Vaso di fiori su base in marmo
$3,490.57
£2,539.35
€2,900
CA$4,763.63
A$5,304.73
CHF 2,760.82
MX$65,406.73
NOK 35,161.17
SEK 33,048.09
DKK 22,070.35
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Scuola napoletana, XVIII secolo
Vaso di fiori su base in marmo
Olio su tela, cm 54 x 73
Con cornice, cm 64 x 83
La natura morta che raffigura, scorciato dal basso, un vaso metallico su basamento in pietra con un tripudio di fiori di diverse specie su uno sfondo completamente scuro. L’attinenza con la scuola napoletana la si ritrova nella produzione di pittori come Francesco Lavagna (1684 – 1749) o Gaspare Lopez (1677-1732). Il Lavagna possiede uno stile particolarmente prossimo a quello di Gaspare Lopez, importante artista responsabile dell’esecuzione di meravigliose nature morte in ambito napoletano, tanto che, nonostante le fonti documentarie non siano sufficienti per tracciare con assoluta certezza l’apprendistato del primo, si ritiene che anche il maestro del Lopez, ovvero Andrea Belvedere, possa essere ritenuto il medesimo. Va inoltre notato come l’attenzione lenticolare nel rendere i petali richiami esempi fiamminghi, come quello di Abraham Brueghel (1631-1697), pittore discendente di un’illustre dinastia che viaggiò in Italia toccando Roma e anche Napoli, dove molti pittori poterono ammirare i suoi esempi, fra cui appunto il Belvedere. Altri artisti stranieri che influenzarono l’operato dei colleghi napoletani nei primi decenni del Settecento furono Jean-Baptiste Monnoyer e Jean Baptiste Gayot Dubuisson che trasmisero un gusto decorativo, ricco ed elegante nell’ambiente napoletano come declinazione dello stile francese. La scorciatura dal basso, il gusto floreale declinato nelle molteplici specie, la stessa foggia e materiale del vaso trova riscontri nelle opere dei due pittori napoletani, sebbene l’ambiente scuro e illuminato scarsamente da una luce fuori campo renda i toni differenti, più vibratili e cangianti grazie al chiaro scuro, evidenziato sulla superficie dei petali. In generale possiamo notare come in quest’opera la composizione si richiami a quella del primo Settecento napoletano, influenzato dalle composizioni maggiormente ornamentali della scuola francese, mentre le tonalità, il chiaro scuro, l’ambientazione buia e il forte realismo degli elementi floreali si richiamano soprattutto ad una natura morta più vicina a quel realismo che aveva contraddistinto la natura morta napoletana nel secolo precedente, ovvero quella di Giuseppe Recco (1634-1695), Giovanni Battista Ruoppolo (1629-1693) oppure di Paolo Porpora (1617-1673). L’unitarietà della scuola da un punto di vista culturale permise un’evoluzione costante e comune che non escluse gli influssi dall’estero e che tenne in alta considerazione gli insegnamenti dei maestri di un passato ancora molto prossimo, garantendo una linea di continuità fra il Seicento e il Settecento in questo genere pittorico fino ad arrivare al Lavagna e al Lopez.
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