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拍品專文
Although better known in her day as a painter of portraits and religious compositions, it is Fede Galizia's naturalistic still lifes, among the first works in this relatively new genre, for which she is prized today. The earliest recorded Italian still life is her composition of 1602, formerly in the Anholt collection, Amsterdam (S. Bottari, Fede Galizia pittrice, in Collana Artisti Trentini, 1965, p. 361, fig. 6).
The present work, confused by Flavia Caroli with a near identical composition with Silvano Lodi (F. Caroli, op. cit., no. 55), reveals the influence on Galizia of the Cremonese artist, Vincenzo Campi (1530/5-1591). The simplicity and directness of the Lombardian still lifes of both Galizia and her contemporary, Panfilo Nuvolone, to whom her work has sometimes mistakenly been credited (see the Tazza with plums and pears in a private collection; A. Morandotti, Fede Galizia, in AA.VV., 1989, I, p. 222) were very influential, and are noted by A. Prez-Snchez as appearing in Spanish inventories by the mid-17th century (A.E. Prez Snchez, in the catalogue of the exhibition, Pintura Espanola de Bodegones y Floreros de 1600 a Goya, Prado, Madrid, November 1983-January 1984, p. 25).
The present work, confused by Flavia Caroli with a near identical composition with Silvano Lodi (F. Caroli, op. cit., no. 55), reveals the influence on Galizia of the Cremonese artist, Vincenzo Campi (1530/5-1591). The simplicity and directness of the Lombardian still lifes of both Galizia and her contemporary, Panfilo Nuvolone, to whom her work has sometimes mistakenly been credited (see the Tazza with plums and pears in a private collection; A. Morandotti, Fede Galizia, in AA.VV., 1989, I, p. 222) were very influential, and are noted by A. Prez-Snchez as appearing in Spanish inventories by the mid-17th century (A.E. Prez Snchez, in the catalogue of the exhibition, Pintura Espanola de Bodegones y Floreros de 1600 a Goya, Prado, Madrid, November 1983-January 1984, p. 25).