Scuola europea (XIX), Seguace di Jan Fyt - Natura morta - NO RESERVE

SHIPPING: I can ship within 24-48 hours, that's why the shipping is a bit higher; the item will be packed with bubble wrap and cardboard with maximum care since it is a fragile and precious object. Also to avoid issues it will be insured.
-Are you on vacation? I offer a premium service, maximum delivery flexibility: I can ship to the pickup point nearest to you, so you can collect it calmly when you prefer.

I am one of the few sellers who can ship worldwide thanks to owning and registering the EORI CODE, which provides peace of mind and faster shipping even outside the European Union.

The work tells a fascinating story, suspended between the Nordic Flemish seventeenth century and the influence of Italian painting schools of the 1800s.

The examined work presents stylistic and compositional characteristics attributable to the Flemish school of the seventeenth century, in particular to the circle of Jan Fyt. The attribution to a follower or to an artist within Fyt’s circle is based on the analysis of the following technical elements:

Stylistic Analysis
Texture and Tactile Rendering: The distinctive hallmark of Jan Fyt, inherited by his followers, lies in the ability to differentiate organic textures. In the painting one notices a clear distinction between the soft opaqueness of the birds’ plumage, the roughness of the savoy cabbage leaves, and the glossy surface of the onions. This rendering is achieved through a dense and vibrant brushstroke, defined as "material".

Pyramidal and Disorderly Composition: Unlike the Dutch still life, more static and orderly, here one finds the typically Flemish accumulation of game and vegetables. The elements are arranged in a seemingly casual way inside and around a wicker basket, creating a sense of Baroque abundance and realistic immediacy.

Light-Contrast (Chiaroscuro): The work adopts a dark, deep background from which the subjects emerge thanks to a directional and intense light. This approach, blending the Flemish analytic tradition with Caravaggesque tenebrism, is typical of Fyt’s mature phase and his school after contact with the Italian artistic environment.

Synergy between Hunting and Vegetables: The juxtaposition of small game (hare and birds) with humble vegetables (cardoons, onions, savoy cabbage, and roots) is a recurring theme in Fyt’s catalog. These vegetal elements serve to balance the composition chromatically, introducing variations of green and ochre that contrast with the warm tones of the meat and feathers.

-The Story of the Painting
Born in the first half of the 19th century by a master of the Flemish school active between Antwerp and Rome, the painting was commissioned to celebrate the abundance and prestige of the collector. The work depicts a vanitas still life with game and vegetables, a genre much loved by the aristocracies of the time for its extraordinary symbolic charge: the contrast between earthly life, prosperity and the fleeting nature of time.
During the 19th century, the canvas was purchased by a refined bibliophile and patron and underwent an important restoration and reupholstery to preserve the original structure, before passing by inheritance to important private collections.

-The Dignified Residence
Before arriving in the gallery, the painting illuminated for over a century the SALA DEI BANCHETTI DI PALAZZO VAN RENSSELAER, a splendid noble palace overlooking Bruges’ canals.
The canvas was placed above a massive black marble fireplace from Belgium, designed to dialogue with the carved walnut furnishings and the leather-gilt Cordovan tapestries.
The candlelight and the large arched windows highlighted the strong chiaroscuro of the work, amazing the house guests during gala dinners.

-The Details That Make It Unique
Tactile Rendering of Plumage: The contrast between the bright whiteness of the hanging bird and the iridescent shades of the duck’s neck shows extraordinary technical mastery, typical of Flemish painting.

Naturalness of Still Life: The intertwined baskets, leeks, cabbages and onions painted in the foreground present a almost sculptural texture, where every fold and grain is rendered with meticulous precision.

Dramatic Chiaroscuro: The skilful use of the dark background and diagonal light enhances the shapes and volumes, giving a sense of deep intimacy and scenographic realism.

The painting is currently kept in a private home and has been reupholstered by Galleria Giosi in Rome as seen on the back of the frame.

In the seventeenth century hunting was a privilege reserved for the aristocracy and the wealthy bourgeoisie. Displaying a painting with game and delicately prepared food in dining rooms was a direct way to show guests one's wealth, social prestige and generosity at the table.

Moral and Religious Meaning (Vanitas)
Beyond ostentation, these paintings concealed a strong symbolic component:
- Memento Mori: lifeless animals reminded of the transience of existence and the inevitability of death.
- Virtue of Nature: the presence of fruits and vegetables represented divine providence and the cyclicity of the seasons.
- Demonstration of Technical Virtuosity
For artists, the still life was the ultimate testing ground. It served to demonstrate one’s ability to reproduce extremely complex textures:
- The soft, light plumage of the birds.
- The glossy or porous surface of the vegetables.
- The effect of light on wicker baskets and fabrics.

Colorist disclaimer and condition of the object: As an antique artwork/objects of art, color tones, gilding reflections and details visible in the images may show slight tonal variations compared to the real object due to photographic rendering and lighting. The images are considered an integral part of the description, but the live object will prevail.