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Fw: Painting sources
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From: D. Barton Johnson
To: chtodel@gss.ucsb.edu
Sent: Saturday, September 06, 2003 7:34 PM
Subject: Fw: Painting sources
----- Original Message -----
Stabian Flora
This fresco from Stabiae representing Flora, the Spring, is in the National Museum of Naples. This copy is from Pompeii and Herculaneum: The Glory and the Grief by Marcel Brion and Edwin Smith (1960).
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Juan Fernandez "El Labrador" así apodado por su vida retirada en el campo, se dedicó al tema de las flores y las frutas, quizá como dice Antonio Palomino, porque se dedicaba a labrar la tierra y a cultivarlas, pero también gracias a uno de sus mecenas, Anthur Hopton que le convenció por considerar que el tema era muy comercial. Su Florero de 1636 es muy original en el contexto español por su forma, soporte de madera y estilo, las flores se abren en abanico, presentadas de una manera pseudobotánica, las azucenas y los claveles en todo su ciclo de floración, como si los capullos se fueran abriendo lentamente ante el espectador.
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Library of America edition note page 806:
367.23 rue des Jeunes Martyres...Ovenman] Cf. Henri de Toulouse-Lautrec's poster Le Divan japonais (1892-93), which advertised the cabaret of E. Fournier (French four means "oven") at 75 rue des Martyres in Paris, and the photographed modern-dress version of the poster, with the original in the background, that appeared in a Barton & Guestier wine advertisment that ran in The New Yorker in the 1960s. Nabokov told Bobbie Ann Mason that the photograph "is meticulously described by Van...and should be looked up by all admirers of Lucette."
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Descrizione: Bruslot a la fonde. Acquaforte colorata ad acquarello 1760. Cm 30,4x39,8. Claude Randon. Pontoise 1674-Roma 1704. Incisore. Ha inciso soggetti religiosi e ritratti. "Les plans de plusieurs batiments de mer avec leurs proportions" sono opera di due artisti che hanno lo stesso nome
------------------------------------------------------------------------------------http://www.hort.purdue.edu/newcrop/caravaggio/caravaggio.html
Still Life with a Basket of Fruit (1601)
This stunning still life (Fig. 6), with trompe l'oeil realism, consists entirely of a basket of fruit. Spike (2001) attributes it to 1596 while Puglosi (1998) assigns it 1601, the same year as Supper at Emmaus, The 1601 date seems more likely to me for a number of reasons, and I have assigned that date here. The fruit baskets in both Supper at Emmaus and Still Life with a Basket of Fruit are the same, both perched precariously on the edge of a table, but with a different collection of fruit (possibly excluding the quince) that appears almost identical in both paintings. (Could it be the same specimen?) We will never know for certain but I suggest this may have been either a preparatory painting for the larger Supper at Emmaus. Perhaps pleased with the result, Caravaggio added it to the Supper at Emmaus as an afterthought. This basket contains a peach, a summer fruit, suggesting that this image was painted first. Six different fruits are visible. The uppermost fruit is a good-sized, light-red peach attached to a stem with wormholes in the leaf resembling damage by oriental fruit moth (Orthosia hibisci). Beneath it is a single bicolored apple, shown from a stem perspective with two insect entry holes, probably codling moth, one of which shows secondary rot at the edge; one blushed yellow pear with insect predations resembling damage by leaf roller (Archips argyospita); four figs, two white and two purple-the purple ones dead ripe and splitting along the sides, plus a large fig leaf with a prominent fungal scorch lesion resembling anthracnose (Glomerella cingulata); and a single unblemished quince with a leafy spur showing fungal spots. There are four clusters of grapes, black, red, golden, and white; the red cluster on the right shows several mummied fruit, while the two clusters on the left each show an overripe berry. There are two grape leaves, one severely desiccated and shriveled while the other contains spots and evidence of an egg mass. In the right part of the basket are two green figs and a ripe black one is nestled in the rear on the left. On the sides of the basket are two disembodied shoots: to the right is a grape shoot with two leaves, both showing severe insect predations resembling grasshopper feeding; to the left is a floating spur of quince or pear.
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Juan Zurbaran "Bodegyn con cest de manzanas, membrillosy granadas" Museo Nacional d'lArt de Catalunya Barcelona
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