Lot Essay
Esta obra desconocida pertenece al selecto grupo de Naturalezas Muertas que se relacionan con el destacado ejemplo del Wadsworth Museum, en Hartford, de donde recibe su nombre el Maestro de Hartford (ed. F. Zeri y F. Porzio, La natura morta en Italia, Miln, 1989, II, fig. 773). Muchos de los elementos que componen este cuadro, de grandes dimensiones, aparecen en el de Hartford, donde se encuentran dispuestos de forma similar sobre un mantel blanco. El Maestro de Hartford es sin duda el ms creativo pintor de Naturalezas Muertas de los discpulos de caravaggio, y su obra suscit gran inters entre numerosos pintores, incluyendo un fiel seguidor que destaca Zeri (op. cit. figs. 785-6) que estilsticamente tiene relacin con esta obra de composicin mucho ms ambiciosa.
This previously unknown canvas belongs to the celebrated group of still lives that have been associated with the notable example in the Wadsworth Atheneum, Hartford, after which the Master of Hartford is named (ed. F. Zeri and F. Porzio, la natura morta in Italia, Milan, 1989, II, fig. 773). Many elements of the present considerably larger composition appear in the Hartford picture, in which these are similarly disposed on a white table cloth: an almost identical glass vase, scattered fruit, a basket of similar weave, leaves falling forward over the edge of the table. The Hartford Master was indisputably the most accomplished still life specialist among the followers of Caravaggio, and his work in turn aroused the interest of a number of artists, including a notable follower whose contribution was first recognised by Zeri (op.sit., figs. 785-6) and also bears a close stylistic relation to the present notably more ambitious composition.
This previously unknown canvas belongs to the celebrated group of still lives that have been associated with the notable example in the Wadsworth Atheneum, Hartford, after which the Master of Hartford is named (ed. F. Zeri and F. Porzio, la natura morta in Italia, Milan, 1989, II, fig. 773). Many elements of the present considerably larger composition appear in the Hartford picture, in which these are similarly disposed on a white table cloth: an almost identical glass vase, scattered fruit, a basket of similar weave, leaves falling forward over the edge of the table. The Hartford Master was indisputably the most accomplished still life specialist among the followers of Caravaggio, and his work in turn aroused the interest of a number of artists, including a notable follower whose contribution was first recognised by Zeri (op.sit., figs. 785-6) and also bears a close stylistic relation to the present notably more ambitious composition.