Miguel Parra (1780–1846), Circle of - Carnations in ceremonial repose

Technical sheet

Carnations in ceremonial resting

Author: Attributed to the circle of Miguel Parra (Valencia, 1780 – 1846)

Chronology: circa 1825–1845

Valencian School / Style: Academic floral still life transitioning between late Neoclassicism and early Romanticism.

Technique: oil on canvas

Measures
75 × 40 cm (frameless)
85 × 50 cm (with frame)

Support: fine weave canvas, traditional preparation

Marco: An extraordinary antique handcrafted frame, richly molded, gilded, and hand-painted, of great decorative quality and perfectly suited historically to the work.

Condition: Very good; stable pictorial layer, homogeneous ancient patina, slight wear consistent with age, and it has restorations.

2. Compositional and iconographic description

The work presents a vertical bouquet of carnations arranged with almost architectural balance, rising from the base towards a softly blurred green background, treated as an atmospheric space rather than a descriptive one.

The carnations — deep reds, creamy whites, dusty pinks, and warm yellows — are created with a contained yet lively brushstroke, with particular attention to the volume of the petals and the chromatic vibrancy of their edges.

The stems, long and flexible, generate a sinuous rhythm that adds elegance and lightness to the whole.

Iconographically, the carnation alludes both to Spanish popular tradition and to symbolic values of constancy, affection, and fleetingness. It is not merely a botanical description but a contemplative still life, where the flower takes on an almost emotional and silent presence.

3. Style, School, Attribution, and Valuation

From a stylistic point of view, the work fits with notable coherence within the sphere of Miguel Parra, one of the great masters of Valencian floral still life in the first third of the 19th century.

The compositional order, the clarity of the background, the chromatic nobility, and the absence of Baroque artificery directly refer to his pictorial language and that of his immediate circle.

The comparison is particularly relevant when considering the late vases by Parra preserved in institutional collections, where the flower is presented isolated, dignified, and treated with a sensitivity that already anticipates a more intimate and modern perspective.

In this sense, the work dialogues —at a distance— with the European tradition of the genre, from Jan van Huysum to the 19th-century French vases, while maintaining a sober and refined Spanish character.

We are faced with a highly exclusive piece, not only because of its pictorial quality but also due to its uncommon format, its magnificent original frame, and its plausible attribution to a well-defined artistic environment.

A work of great appeal for collectors of still life paintings, 19th-century Spanish art, or lovers of still life with identity and mystery.