Unknown Author - Still Life

The genre of “Still Life” saw the light at the beginning of the 17th century. It consists
in the representation of compositions of inanimate subjects, in the majority
some of the cases flowers or fruit. If at the beginning of its history it was an occasion for the
painters to try their hand at a naturalistic or photographic reproduction of the
In reality, with contemporary art the “Still Life” also becomes a way of
interpret reality. In fact, as will happen for example in the avant-garde
cubist or in Giorgio Morandi, the deep research on the objects will be finalized
to a conceptual representation, taken beyond simple sensory data.

In this painting the performing artist shows us how his pictorial language
is dedicated to a faithful transposition of reality onto the surface of the work.
His main interest is in plastic, modelled and turned values, which
they are softened by a subtle pictorialism just enough to blend them together
in the atmosphere. In general, one notices a desire to bring back onto the canvas
objectively, with extraordinary lucidity, the sensitive data that the painter has of
before your eyes, in an extraordinary example of painting from life. All this is
possible because the performing artist is in possession of a notable technique, which
It makes us think of Flemish painting, in the precision with which
reproduces the different objects and surfaces and the effects of light incident on them
they. Speaking of light, the lighting direction used is exceptional, with the
composition that delicately emerges from the decontextualized background.

From the analysis of this work we can see how the performing artist is
one of those painters whose production is focused on still life genres
and floral composition, in which he managed to achieve a technique of
truly excellent execution. His reproduction of the objects from life is
is distinguished by a Flemish-type realism, even if everything is made more alive by
a loose and vibrant brushstroke and an extraordinary use of light.

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