Pair of flower still lifes, Antoine Monnoyer, the Younger (Paris 1671 - Paris Saint Germain-en-Laye 1747) attributable
Description:
Antoine Monnoyer, the Younger (Paris 1671 - Paris Saint Germain-en-Laye 1747) attributable
Pair of flower still lifes
Early 18th century
Oil on canvas (52 x 65 cm. - With carved and gilded wooden frames. 66 x 79 cm.)
FULL DETAILS OF THE PAIR OF PAINTINGS (CLICK HERE)
This splendid pair of paintings depicts a pendant of still lifes with floral compositions: both canvases show rich bouquets of colorful flowers (including roses, carnations, daffodils, tulips, and anemones), with iridescent colors elegantly juxtaposed.
The flowers, arranged with studied asymmetry, are placed in an outdoor setting and seem to almost spill from natural rocky elements, typical of Baroque garden settings. The canvases are characterized by a dark, almost uniform background, which serves to highlight the brilliance and chromatic vivacity of the petals with absolute prominence, a refined technique that imparts strong three-dimensionality.
From an attributional point of view, it is easy to find the stylistic elements and canons typical of the floral compositions of the Monnoyer family, undisputed masters of Franco-Flemish still life at the turn of the 17th and 18th centuries, headed by the renowned Jean-Baptiste and his son Antoine Monnoyer, whose painterly mark is distinguished precisely by this type of sumptuous, dense, and highly decorative compositions.
Going into detail about the works, we are inclined to attribute the hand, in particular, to Antoine Monnoyer (Paris 1671 - Paris Saint Germain-en-Laye 1747), recognizable for the elegant structure of the composition combined with the characteristic freshness and brilliance of the colors.
After probable training in London at his father Jean Baptiste's studio, Antoine moved to Paris, a city that became one of the main centers of his artistic career, quickly becoming integrated into the prestigious artistic circles of the French capital. At the height of his success, he left France for a study trip to Rome and then began a career that would take him to various European courts, in Sweden, where he decorated the Royal Palace of Stockholm, with long stays in England, especially in London, where the family enjoyed the protection of important patrons and royalty.
The paintings of the French artist – nicknamed "Young Baptist" for perpetuating and evolving his father's great pictorial tradition – are imbued with a soft sensuality given by the sinuous movement of the flowers, tied together in a sort of melody that unites them in a broader breath of Baroque taste. Finally, the counterpoint of the chromatic range, especially between the intense red and blue, is beautiful, lending the composition a masterful and final lyrical touch.
The paintings are in excellent condition and are enriched by beautiful carved and gilded antique wooden frames, whose geometric motifs and acanthus leaf details at the corners enhance their scenographic character, evoking their original destination for the salons of 18th-century aristocracy.
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