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拍品專文
This monumental work is a fine example of Campidoglio’s compositional ingenuity whilst also exhibiting some of the most recognisable hallmarks of his style. The abundance of varied fruit, executed in richly coloured impasto, propounds a vibrancy which is characteristic of the artist. Details such as the knife in the watermelon and the broken bamboo cane, shown beneath the startled boy, are motifs that recur in many of the artist’s pictures.
Despite Campidoglio’s contemporary reputation as a highly regarded and sought-after still-life painter, who was able to secure commissions from such notable patrons as Flavio Chigi and Marcantonio V Colonna, little biographical information about his life has been recorded, and his oeuvre has proved difficult to define. Works attributed to the artist since the 18th century that have entered some of the great European collections, including those of Sir Robert Walpole and Catherine II of Russia, have provided the main structure of attributional research (op cit., p. 409).
While the figure of the young boy in the present picture has been painted by an, as yet, unidentified hand, Campidoglio is known to have collaborated with the Danish-born artist, Bernhard Keil, called Monsù Bernardo. Keil, who contributed the figure in an Allegory of Autumn, now in a private collection, is also considered to be the hand responsible for the figure in a version of the present picture, in which the young boy has been substituted for a young girl (see L. Salerno, Nuovi Studi su la natura morta Italiana, Rome, 1989, pp. 152-3, no. 150, illustrated).
Despite Campidoglio’s contemporary reputation as a highly regarded and sought-after still-life painter, who was able to secure commissions from such notable patrons as Flavio Chigi and Marcantonio V Colonna, little biographical information about his life has been recorded, and his oeuvre has proved difficult to define. Works attributed to the artist since the 18th century that have entered some of the great European collections, including those of Sir Robert Walpole and Catherine II of Russia, have provided the main structure of attributional research (op cit., p. 409).
While the figure of the young boy in the present picture has been painted by an, as yet, unidentified hand, Campidoglio is known to have collaborated with the Danish-born artist, Bernhard Keil, called Monsù Bernardo. Keil, who contributed the figure in an Allegory of Autumn, now in a private collection, is also considered to be the hand responsible for the figure in a version of the present picture, in which the young boy has been substituted for a young girl (see L. Salerno, Nuovi Studi su la natura morta Italiana, Rome, 1989, pp. 152-3, no. 150, illustrated).