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Basket of Flowers
Pérez, Bartolomé
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Pérez, Bartolomé

Madrid, 1634 - Madrid, 1698

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Basket of Flowers

Second half of the XVII century. Oil on canvas

The fact that this painting and its pendant (P5301)—both of unknown origin—entered the Museo de la Trinidad in the 19th century suggests they may have belonged to a religious institution in or near Madrid. As Cruzada villaamil’s first catalog indicates, they were originally considered anonymous works from the Valencian school, but a signature discovered on the present canvas when they entered the Prado allowed them to be correctly attributed to Bartolomé Pérez in the inventory. For unknown reasons, P5307 was lent to the University of Barcelona in 1883, thus separating it from the work we see here. Lacking a signature, that piece was first attributed to Juan de Arellano on the basis of its style, presentation, dimensions and overall appearance. And this is understandable, as Bartolomé Pérez was Arellano’s disciple, and later, his son-in-law.

Indeed, there are innumerable links between these two works and those of Pérez’s father-in-law and teacher, including both their compositional conception of grouping and the approach to details, from the petals to the openwork basket. Moreover, the fact that both artists depict similar types of flowers—roses, tulips, dahlias, carnations, daffodils, etc.—makes their work even more similar. Pérez’s lighting, however, is much more intense, and this adds a sense of drama and aesthetic tension reinforced by the color scheme. The backgrounds that look so dark to us now must originally have been lighter, as the dark priming now shows through, augmenting the sense of shadow. All the same, the result is brilliantly theatrical and rich in details that strengthen the eminently baroque decorative value of both paintings.

From the standpoint of historical tradition, this formula is deeply rooted in Western art. In fact, such richly theatrical and stimulating images are already visible in Roman mosaics from the second century B.C., as witnessed by works in the Vatican Museums. Some French genre painters also took a similar approach during the Baroque, including Jacques Linard (1600-1645), several of whose works are exemplary in that sense (Paris, Musée du Louvre and private collections). Thanks to their brilliant brushwork, Barolomé Pérez’s paintings are both joyful and mysteriously fascinating to the viewer who contemplates them consciously. They also produce a certain degree of dreaminess, due to their powerfully evocative nature. The present canvases’ dependence on Juan de Arellano’s models suggests they may well be from a relatively early point in Pérez’s career (Text from Luna, J. J. : El bodegón español en el Prado. De Van der Hamen a Goya, Museo Nacional del Prado, 2008, p. 106).

Technical data

Related artworks

Florero en un canastillo
Oil on canvas, XVII century
Inventory number
P001058
Author
Pérez, Bartolomé
Title
Basket of Flowers
Date
Second half of the XVII century
Technique
Oil
Support
Canvas
Dimension
Height: 54 cm.; Width: 83 cm.
Provenance
Museo de la Trinidad

Bibliography +

Cruzada Villaamil, Gregorio, Catálogo provisional, historial y razonado del Museo Nacional de Pinturas, Madrid, 1865, pp. 171.

Museo Nacional del Prado, Catálogo descriptivo e histórico del Museo del Prado de Madrid, [s.n.], Madrid, 1872.

Museo Nacional del Prado, Catalogo ilustrado de la Sala de Velazquez en el Museo del P, J. Laurent y Cia., Fotógrafos Editores, Madrid, 1899, pp. 7.

Pintura española de bodegones y floreros de 1600 a Goya /, Ministerio de Cultura, Dirección General de Bellas, Madrid, 1983, pp. 123.

Pérez Sánchez, Alfonso E., La nature morte espagnole du XVII sièecle a Goya, Office du Livre; Vilo, Friburgo, 1987, pp. 139/ lám.138.

Museo Nacional del Prado, Museo del Prado: inventario general de pinturas, Museo del Prado, Espasa Calpe, Madrid, 1991.

Flores españolas del Siglo de Oro: la pintura de flores en la España del siglo XVII, Fundación Amigos del Museo del Prado, Madrid, 2002.

Luna, Juan J., El bodegón español en el Prado: de Van der Hamen a Goya, Museo Nacional del Prado, Madrid, 2008, pp. 106/107.

In the presence of things: four centuries of European still-life painting, Calouste Gulbenkian Foundation, Lisbon, 2010, pp. 224-225.

Other inventories +

Inv. Museo de la Trinidad, Pintura. Núm. 211.
211. / Un florero de mimbre (canastillo) con rosas, lirios y tulipanes. / Compañero al 210. / Autor. / Rdo. Alto 0,54; ancho 0,83. / Id.id.id. / Nº 85 s.g.

Catálogo Museo de la Trinidad, 1865. Núm. 211.
CUADROS ANÓNIMOS DE LA ESCUELA VALENCIANA / 211. Florero. / Lienzo. - Al. 0,54. - An. 83. - Fig. t. n. / Epoca: segundo tercio del siglo XVII.

Catálogo Museo del Prado, 1873-1907. Núm. 2174g.
Florero. Rosas, tulipanes, malvas reales, etcétera, todo de colosales dimensiones, en un gran vaso labrado. / Alto 0,54; ancho 0,82.-L.

Exhibitions +

El bodegón español en el Prado
Alcoi
24.03.2011 - 26.06.2011

El bodegón español en el Prado
Murcia
11.03.2010 - 06.06.2010

El bodegón español en el Prado
Valladolid
12.10.2009 - 14.02.2010

El bodegón español en el Prado
25.06.2009 - 20.09.2009

El bodegón español en el Prado
31.03.2009 - 31.05.2009

El bodegón español en el Prado
24.09.2008 - 30.11.2008

Spaanse Bloemenpracht Stillevens uit dee Zeventiende Eeuw - Flores españolas del Siglo de Oro
Haarlem
17.08.2002 - 14.10.2002

Displayed objects +

Basketry: .33.

Update date: 03-05-2019 | Registry created on 28-04-2015

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