Giuseppe Volò, Known As Vincenzino ( 1662 - Documented Until 1700), Composition Of Flowers

Giuseppe Volò, known as Vincenzino (Milan, 1662 - documented until 1700)
Composition of flowers
Oil on canvas, cm 36 x 49
With frame, cm 45 x 58

In this composition of the milanese Giuseppe Volò said Vincenzino (Milan, 1662 - documented until 1700) All the attention is captured by the foreground tray filled with delicate and white flowers, perhaps jasmine. All around other floral specimens, including a rose and yellow flowers, emerge from the dark background.
The finesse of the brush stroke with multiple layers of color contributes to make the freshness and lively realism typical of the still lifes of Volò. In comparison with the present, we see the still life with flowers, fruits and asparagus of the Civic Museums of Vicenza whose absolute protagonist, as in our case, is the tray rich in jasmine surrounded by flowers. The white flowers can be found in many other works of Volò, some preserved in private collections in Lombardy and in the Principi Borromeo Collection.
The brush stroke is precise in describing the minute details of the petals, the reflections on the water drops, the veins of the leaves. This soft and vibrant nature, which stands out on the dark background, influenced by both Flemish and Roman Baroque style recognizable in the effects of illusionism of flowers and Italian Baroque, observable in the close and engaging composition cut, characteristic of the Lombard painter. The artist, as stated by Morandotti (1989, p. 246) shows stylistic debts towards the Roman baroque, especially with Mario Nuzzi, called Mario dei fiori, Karel Vogelaer and Abraham Brueghel. The artist’s artistic and biographical profile has been considerably enriched in the last two decades. One of the most important aspects concerning the activity of our painter is connected to the complex biographical problems of the artistic family of Volò, The European Commission has recently published a study on this subject by Vincenzo Caprara (1995). The scholar has in fact discovered the documentation concerning the date of birth of Giuseppe, his descent from the artist Vincenzo Volò (1606-1671), as well as the relationship with the painters Giovanna (1655-1680) and Francesca (1657-1700), and also that with Margherita Caffi, first daughter of Vincenzo and half sister of our. His father, Vincenzo Volò, also known as "Vincenzino dei fiori", moved to Milan after 1635. Here in a few years Vincenzino was able to expand its clientele and attract a diverse and high-ranking clientele. At the death of his father in 1672, it was his sons, Giuseppe, Francesca Vincenzina (1657 - 1700) and Giovanna (1655 - 1680) who brought the workshop to the highest levels during the last decades of the seventeenth century.
Giuseppe Volò was the youngest son of Vincenzino, born in 1662. After his father’s death, his painting training was taken care of in the family workshop by his older sisters Giovanna and Francesca, who taught him the manner of his father. The oldest document about his activity dates back to 1685 when he painted for Count Vitaliano Borromeo.  The artist’s name appears in the inventories of other imported collections from Lombardy: it is mentioned in the collections of the abbot Latuada of Parabiago, in the collections of the Borromeo Painting and those of the palace of the Duke of Mantua Ferdinando Carlo Gonzaga.

The object is in good condition

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