Lombard School, 17th Century, Flowerpot

Lombard school, 17th century 

Flowerpot

Oil on canvas, cm 80 x 54

With frame, cm 94 x 68


The oil on canvas in question, depicting a vase with grotesques from which emerges a rich floral bouquet, can be referred to the Lombard school of the seventeenth century. 

The still life was originally born as naturalistic detail with various symbolic values, often inserted in the verse of some portraits or as a secondary detail in the sacred scenes, going only later to acquire its autonomy. Italy, and specifically Lombardy, was among the most important production centers that developed between the late sixteenth and early seventeenth century. 

The work is attributable to the hand of a Lombard artist who has the opportunity to see the studied compositions of artists such as Giuseppe Volò said Vicenzino (Milan, 1662 - documented until 1700), a Lombard painter who, following the example of Nuzzi, of Mantua and the Flemish culture popularized by Abraham Brueghel. Belonging to the family of the so-called Vicenzini was Margherita Caffi, daughter of the painter of French origin Vincenzo Volò from which probably derives the aforementioned nickname. Born in Cremona in 1647, Margherita Caffi is known for her compositions of fruit and flowers. She was admitted to the Accademia di San Luca in Milan, together with her sister and an unidentified one, Lucrezia Ferraria, from 2 February 1697, according to a document found in the 2000s by Alberto Cottino. Among his clients are the archdukes of Tyrol (many of his paintings are in fact still in Austria), the kings of Spain and the grand dukes of Tuscany; in particular his art was much appreciated by Vittoria Della Rovere. 

The last years of its existence were spent in Milan, where it gave rise to a thriving local school of still life painters. Certainly inspired by similar Nordic paintings, Caffi shows, in the extreme freedom of painting, the free and lively brushstroke, influences on the Venetian painting of Elisabetta Marchioni and on the still lifes of the so-called Pseudo Guardi. In works such as the Vase of Flowers of the Private Collection are found stylistic elements very similar to those present in the canvas under examination: the decorated vase and the flowers themselves, which develop from above descending downwards and opening on the sides. The object is in good condition

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