Master of the Carpets, Italian, fl. mid-17th century
Title: Still Life with Musical Instruments
Date: c.1650
Medium: Oil on canvas
Dimensions:
94 x 117 cm
Credit Line: Bequeathed, Miss H.M. Reid, 1939
Object Number: NGI.1014
DescriptionThe sobriquet ‘Master of the Carpets’ refers to the author of a small number of still lifes. Almost certainly Italian, he was influenced in equal measure by three other painters working in the same genre, namely Baschenis, Bettera and Giuseppe Recco. This picture is probably the most significant work that has been attributed to this artist to date. The composition has an unusual diagonal structure, with the objects placed on three different levels. Described in a very naturalistic manner, they emerge from the dark background with vivid colours. Three instruments are represented: a violin, a lute and a mandolin. Beside them are a musical score and a footed silver plate with pastries and candied figs. The thick, colourful carpet is the recurrent element used by the artist. On the ground is a cooler containing wine bottles and grapes. As was frequently the case with this genre of pictures, this still life may have been painted as an allegory of the five senses.
March 2016
March 2016
Exhibition HistoryEvaristo Baschenis e la Natura Morta in Europa, Accademia Carrara, Bergamo, 4 October 1996 - 12 January 1997
Stille Welt - Italienische Stilleben aus drei Jahrhunderten, Kunsthalle der Hypo-Kulturstiftung, München, 6 December 2002 - 23 February 2003
Stille Welt - Italienische Stilleben aus drei Jahrhunderten, Kunsthalle der Hypo-Kulturstiftung, München, 6 December 2002 - 23 February 2003
Label TextThis unidentified Italian artist acquired his nickname because he appears to have exclusively painted still-life compositions that include oriental carpets. The sumptuous display of objects provided the painter with the opportunity to demonstrate his skill in naturalistically rendering textures and materials, ranging from the smooth wood of the instruments, to the thick, woven carpet and the glistening glass wine carafes. This still life may have been painted as an allegory of the five senses or, perhaps, as a vanitas piece reminding viewers of the transience of worldly possessions.