In an effort to make their works beautiful and attractive, painters established a hierarchy in which secondary objects were subordinated to the principle ones to generate a charming and stimulating set of complementary relations. This allowed them to demonstrate their mastery while differentiating certain paintings from others in response to specific clients’ tastes. Competing with themselves to please demanding clients was extraordinarily fruitful and led to a splendidly decorative production.

In their serenely harmonious display of this approach, the present canvas and its pendant (P7918) are proof of Camprobín’s skill and reknown. In fact, this manner of painting became one of his most efficient ways of standing out among his rivals. His multiple resources and his particular gift for formulating easily recognizable pieces are visible here in perfectly chosen and exquisite detail. An unhurried look at these works suggests that when seen from close up, they present compositions built from skillfully overlapped planes. At a greater distance, however, the flowers appear to stand out, floating separately in space in a way that suggests there is air between them and the green foliage behind them. Nothing could be more natural and free, more successfully or carefully studied to convey a sense of authenticity.

The bronze vessel that contains the bouquet is depicted in a way that emphasizes its golden metallic sheen and fine moldings, adding yet another asset to this painting’s overall value. And the same could be said of the beautifully crafted secondary vessel: a delicate Oriental porcelain bowl with water and a flower, which rests at the foot of the vase among the fallen petals. The vase rests on a fine wooden surface. Well lit, it stands out against a neutral background that contributes to the flowers’ expressive qualities. Especially the combinations of similar, soft and gently contrasted tonalities. The practically imperceptible butterfly adds a touch of fragility perfectly coordinated with the other motives (Text drawn from Luna, J. J.: El bodegón español en el Prado. De Van der Hamen a Goya, Museo Nacional del Prado, 2008, p. 86).