1 10 11 https://baroque.dahvc.org/fall-2021/files/original/Still-Life_Painting_in_Baroque_Italy_/A_Cat_Stealing_Fish/A_Cat_Stealing_Fish.jpeg c4c7c0cda68303d88dce6a8eabdbf147 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Still-Life Painting in Baroque Italy Subject The topic of the resource Still-Life Painting in Baroque Italy Contributor An entity responsible for making contributions to the resource Kayla Marr Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Painting; oil on canvas Physical Dimensions The actual physical size of the original image 96.5 x 128.3 cm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A Cat Stealing Fish Creator An entity primarily responsible for making the resource Giuseppe Recco Source A related resource from which the described resource is derived Works Cited <ol> <li> Forgione, Gianluca. “Giuseppe Recco.” Essay. In Dizionario Biografico Degli Italiani 86, 86:690–93. Roma: Istituto della Enciclopedia Italiana, 2016. </li> <li> “Giuseppe Recco - A Cat Stealing Fish.” Metmuseum.org. The Metropolitan Museum of Art. Accessed October 13, 2021. <a href="https://www.metmuseum.org/art/collection/search/437376">https://www.metmuseum.org/art/collection/search/437376</a>. </li> <li> Causa, Raffaello. La Natura Morta a Napoli Nel Sei e Nel Settecento. 5. Vol. 5. Storia Di Napoli. Napoli, Italia: Società editrice storia di Napoli, 1969. </li> <li> Damian Véronique. “Giovan Battista Recco.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 34–35. Paris, France: Galerie Canesso, 2007. </li> <li> Damian Véronique and Claudia Salvi. “Giuseppe Recco.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 80-81. Paris, France: Galerie Canesso, 2007 </li> <li> Damian Véronique and Claudia Salvi. “Giuseppe Recco.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 80-81. Paris, France: Galerie Canesso, 2007 </li> <li> Marshall, Christopher. “More Beautiful than Nature Itself: The Early Commercial and Critical Fortunes of Neapolitan Baroque Still-Life Painting.” Open Arts Journal 2017-18, no. 6 (2018). <a href="https://doi.org/10.5456/issn.2050-3679/2018w07">https://doi.org/10.5456/issn.2050-3679/2018w07</a>. </li> <li> Damian Véronique and Claudia Salvi. “Giuseppe Recco.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 80-81. Paris, France: Galerie Canesso, 2007 </li> </ol> Publisher An entity responsible for making the resource available The Metropolitan Museum of Art Artist: Giuseppe Recco (Italian, Neapolitan, 1634-1695). A Cat Stealing Fish. Images, n.d. <a href="https://jstor.org/stable/community.18615314" target="_blank" rel="noreferrer noopener">https://jstor.org/stable/community.18615314</a>. Date A point or period of time associated with an event in the lifecycle of the resource circa 1667-1669 Contributor An entity responsible for making contributions to the resource Kayla Marr Rights Information about rights held in and over the resource The Metropolitan Museum of Art Purchase, 1871 71.17 Format The file format, physical medium, or dimensions of the resource 96.5 x 128.3 cm Type The nature or genre of the resource Painting; oil on canvas Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The Metropolitan Museum of Art, 1000 Fifth Avenue, New York, NY 10028 Description An account of the resource <h2>A Cat Stealing Fish </h2> A Cat Stealing Fish was painted by Giuseppe Recco between 1667 and 1669. This painting displays Giuseppe’s immense talent at rendering dimly lit spaces and reflections of surfaces and textures within the space. This work is an oil painting on a canvas measuring 96.5 by 128.3 centimeters. The painting depicts a cat caught in the middle of taking an octopus tentacle away in its mouth. The cat is crouching on a crate surrounded by various fish and hammered copper wares that appear to have been pushed to the ground by the cat. The scene appears to be in a dark alleyway or interior room, with sharp lighting focusing on the cat. The lighting in the painting shows off Recco’s ability to realistically render a number of surfaces, including the iridescent scales of the fish and the metallic surfaces of the hammered copper illuminated in the dark scene. A Cat Stealing Fish demonstrates Recco’s skillful painting technique representative of Neapolitan still-life painting during the Baroque period. Furthermore, Recco painted the seaweed in the lower left corner of the painting into the shape of his initials (G R). <h2>A Cat Stealing Fish </h2> A Cat Stealing Fish was painted by Giuseppe Recco between 1667 and 1669. This painting displays Giuseppe’s immense talent at rendering dimly lit spaces and reflections of surfaces and textures within the space. This work is an oil painting on a canvas measuring 96.5 by 128.3 centimeters. The painting depicts a cat caught in the middle of taking an octopus tentacle away in its mouth. The cat is crouching on a crate surrounded by various fish and hammered copper wares that appear to have been pushed to the ground by the cat. The scene appears to be in a dark alleyway or interior room, with sharp lighting focusing on the cat. The lighting in the painting shows off Recco’s ability to realistically render a number of surfaces, including the iridescent scales of the fish and the metallic surfaces of the hammered copper illuminated in the dark scene. A Cat Stealing Fish demonstrates Recco’s skillful painting technique representative of Neapolitan still-life painting during the Baroque period. Furthermore, Recco painted the seaweed in the lower left corner of the painting into the shape of his initials (G R). giuseppe recco neapolitan oil on canvas painting still life https://baroque.dahvc.org/fall-2021/files/original/Still-Life_Painting_in_Baroque_Italy_/The_riches_of_the_sea_with_Neptune_tritons_and_two_nereids/Riches_of_the_Sea.png 4c62c11ca1571dead7fe9d1af40656a2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Still-Life Painting in Baroque Italy Subject The topic of the resource Still-Life Painting in Baroque Italy Contributor An entity responsible for making contributions to the resource Kayla Marr Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data painting; oil on canvas Physical Dimensions The actual physical size of the original image 234.5 x 296.0 cm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The riches of the sea with Neptune, tritons and two nereids Creator An entity primarily responsible for making the resource Luca Giordano and Giuseppe Recco Source A related resource from which the described resource is derived <div class="fancybox-padded"> <div class="fancybox-caption"> Works Cited <ol> <li> Forgione, Gianluca. “Giuseppe Recco.” Essay. In Dizionario Biografico Degli Italiani 86, 86:690–93. Roma: Istituto della Enciclopedia Italiana, 2016. </li> <li> “Giuseppe Recco - A Cat Stealing Fish.” Metmuseum.org. The Metropolitan Museum of Art. Accessed October 13, 2021. <a href="https://www.metmuseum.org/art/collection/search/437376">https://www.metmuseum.org/art/collection/search/437376</a>. </li> <li> Causa, Raffaello. La Natura Morta a Napoli Nel Sei e Nel Settecento. 5. Vol. 5. Storia Di Napoli. Napoli, Italia: Società editrice storia di Napoli, 1969. </li> <li> Damian Véronique. “Giovan Battista Recco.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 34–35. Paris, France: Galerie Canesso, 2007. </li> <li> Damian Véronique and Claudia Salvi. “Giuseppe Recco.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 80-81. Paris, France: Galerie Canesso, 2007 </li> <li> Damian Véronique and Claudia Salvi. “Giuseppe Recco.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 80-81. Paris, France: Galerie Canesso, 2007 </li> <li> Marshall, Christopher. “More Beautiful than Nature Itself: The Early Commercial and Critical Fortunes of Neapolitan Baroque Still-Life Painting.” Open Arts Journal 2017-18, no. 6 (2018). <a href="https://doi.org/10.5456/issn.2050-3679/2018w07">https://doi.org/10.5456/issn.2050-3679/2018w07</a>. </li> <li> Damian Véronique and Claudia Salvi. “Giuseppe Recco.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 80-81. Paris, France: Galerie Canesso, 2007 </li> <li> Marshall, Christopher. “More Beautiful than Nature Itself: The Early Commercial and Critical Fortunes of Neapolitan Baroque Still-Life Painting.” Open Arts Journal 2017-18, no. 6 (2018). <a href="https://doi.org/10.5456/issn.2050-3679/2018w07">https://doi.org/10.5456/issn.2050-3679/2018w07</a>. </li> <li> Marshall, Christopher. “More Beautiful than Nature Itself: The Early Commercial and Critical Fortunes of Neapolitan Baroque Still-Life Painting.” Open Arts Journal 2017-18, no. 6 (2018). <a href="https://doi.org/10.5456/issn.2050-3679/2018w07">https://doi.org/10.5456/issn.2050-3679/2018w07</a>. </li> <li> Marshall, Christopher. “More Beautiful than Nature Itself: The Early Commercial and Critical Fortunes of Neapolitan Baroque Still-Life Painting.” Open Arts Journal 2017-18, no. 6 (2018). <a href="https://doi.org/10.5456/issn.2050-3679/2018w07">https://doi.org/10.5456/issn.2050-3679/2018w07</a>. </li> <li> Marshall, Christopher. “More Beautiful than Nature Itself: The Early Commercial and Critical Fortunes of Neapolitan Baroque Still-Life Painting.” Open Arts Journal 2017-18, no. 6 (2018). <a href="https://doi.org/10.5456/issn.2050-3679/2018w07">https://doi.org/10.5456/issn.2050-3679/2018w07</a>. </li> <li> Marshall, Christopher. “More Beautiful than Nature Itself: The Early Commercial and Critical Fortunes of Neapolitan Baroque Still-Life Painting.” Open Arts Journal 2017-18, no. 6 (2018). <a href="https://doi.org/10.5456/issn.2050-3679/2018w07">https://doi.org/10.5456/issn.2050-3679/2018w07</a>. </li> <li> Giordano, Luca, and Giuseppe Recco. “The Riches of the Sea with Neptune, Tritons and Two Nereids.” AGSA. Art Gallery of South Australia, January 1, 1684. <a href="https://www.agsa.sa.gov.au/collection-publications/collection/works/the-riches-of-the-sea-with-neptune-tritons-and-two-nereids/27349/">https://www.agsa.sa.gov.au/collection-publications/collection/works/the-riches-of-the-sea-with-neptune-tritons-and-two-nereids/27349/</a>. </li> <li> Marshall, Christopher. “More Beautiful than Nature Itself: The Early Commercial and Critical Fortunes of Neapolitan Baroque Still-Life Painting.” Open Arts Journal 2017-18, no. 6 (2018). <a href="https://doi.org/10.5456/issn.2050-3679/2018w07">https://doi.org/10.5456/issn.2050-3679/2018w07</a>. </li> <li> Marshall, Christopher. “More Beautiful than Nature Itself: The Early Commercial and Critical Fortunes of Neapolitan Baroque Still-Life Painting.” Open Arts Journal 2017-18, no. 6 (2018). <a href="https://doi.org/10.5456/issn.2050-3679/2018w07">https://doi.org/10.5456/issn.2050-3679/2018w07</a>. </li> <li> Marshall, Christopher. “More Beautiful than Nature Itself: The Early Commercial and Critical Fortunes of Neapolitan Baroque Still-Life Painting.” Open Arts Journal 2017-18, no. 6 (2018). <a href="https://doi.org/10.5456/issn.2050-3679/2018w07">https://doi.org/10.5456/issn.2050-3679/2018w07</a>. </li> </ol> </div> </div> Publisher An entity responsible for making the resource available <div class="fancybox-padded"> <div class="fancybox-caption"> Luca Giordano, Italy, 1634 - 1705, Giuseppe Recco, Italy, 1634 - 1695, The riches of the sea with Neptune, tritons and two nereids, 1684, Naples, oil on canvas, 234.5 x 296.0 cm; Mary Overton Gift Fund 1997, Art Gallery of South Australia, Adelaide. </div> </div> Date A point or period of time associated with an event in the lifecycle of the resource 1684 Contributor An entity responsible for making contributions to the resource Kayla Marr Rights Information about rights held in and over the resource Mary Overton Gift Fund 1997, Art Gallery of South Australia, Adelaide. Format The file format, physical medium, or dimensions of the resource 234.5 x 296.0 cm Type The nature or genre of the resource painting; oil on canvas Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Art Gallery of South Australia, Adelaide, Australia. Painting Description An account of the resource The Artist Giuseppe Recco was born into an intergenerational family workshop of still-life painters in 1634 in Naples [1]. Much of what is known about Giuseppe comes from Bernardo De Dominici’s Vite dei pittori, scultori ed architetti napoletani, which was published between 1742 and 1745 [2]. De Dominici knew Giuseppe personally, and he was known to occasionally exaggerate or distort Giuseppe’s achievements. Giuseppe’s father, Giacomo Recco (1603-1654), is considered one of the founders of still-life painting in Naples starting in the 1630s [3]. Within the Recco family workshop, it is likely that Giuseppe would have also worked with his assumed uncle, Giovan Battista Recco [4]. Claudia Salvi argues that Giuseppe’s uncle Giovan Battista likely influenced his paintings of food and dead animals, which are similar in styles to Giovan Battista’s own compositions [5]. It is in the Recco workshop, where Paolo Porpora also trained, where Giuseppe honed his painting skills and developed his painting style that has earned him much renown [6]. Giuseppe’s paintings demonstrate his mastery of a broad range of painting subjects, including flowers, marine fauna, vegetables, fruit, and kitchen items. Giuseppe Recco’s paintings varied in size and price range. Furthermore, Giuseppe’s work exemplifies Neapolitan still-life painting with his use of objects placed against a dark background or dark interior. The contrast between the sharp lighting on the objects and the dark background add to the dramatic and decadent characteristic of Neapolitan still-life paintings. Giuseppe’s biographer, Bernardo De Dominici, argued that Giuseppe had gained high social prestige amongst aristocrats and bourgeois members of Naples. As stated by De Dominici, Giuseppe’s still-life paintings became highly sought after, as he had powerful patrons including the Marchese de los Vélez, viceroy of Naples from 1675 to 1682, and the Marchese del Carpio, viceroy of Naples from 1683 to 1687 [7]. De Dominici also claimed that Giuseppe had also become knighted and invited to paint for Charles II in Spain in 1695. However, Giuseppe died in 1695 shortly after the challenging journey to Alicante. De Dominici made bold claims of Giuseppe’s reputation, which some scholars dispute due to the lack of documentation to confirm his claims [8]. The riches of the sea with Neptune, tritons and two nereids The riches of the sea with Neptune, tritons and two nereids was a collaborative painting between Giuseppe Recco and Luca Giordano [9]. This painting displays the monumental work and massive scale that Giuseppe worked on later in his career. Furthermore, this painting is an example of the instances where Giuseppe would collaborate with history painters. Prior to creating this work, Giuseppe had collaborated on a 185 by 237 centimeter painting with Giordano depicting various fish among a figure of a fisherman [10]. In the late 1660s, Giuseppe became known for larger and more highly valued compositions [11]. This earlier work was commissioned by the Marchese di Noja in 1669, as evidenced by a payment of a total of 100 ducats for the painting [12]. Christopher Marshall argues that the high price of this monumental still life painting with large scale figures demonstrates the higher financial valuation of still life paintings in Naples. Marshall cites Mario dei Fiori, a leading still life painter in seventeenth century Rome, as a comparison for Giuseppe’s work. Documentation shows that Mario dei Fiori was paid 20 scudi for contributions to a painting directly comparable with Giuseppe’s commission by the Marchese di Noja, which Giuseppe was paid five times more for in Neapolitan ducats [13]. This comparison demonstrates the higher regard by which still life paintings were held in Naples. This high financial valuation of still life work can also be viewed in Giuseppe and Giordano’s The riches of the sea with Neptune, tritons and two nereids. This large scale oil on canvas painting measures 234.5 by 296.0 centimeters. The undated painting is signed with the monogram “l.r.” in the corner corner and initialed “R” in green paint [14]. The painting would have been created before 1684, as it was created for an exhibition of paintings held in Naples on May 25, 1684 [15]. This exhibition of contemporary paintings by Neapolitan artists was coordinated by Giordano to accompany celebrations of the 1684 Festa dei Quattro Altari. With the inclusion of fourteen large scale paintings that combined history painting and still life painting from various Neapolitan artists, the exhibition became massively successful. In fact, this painting served as a sort of advertisement for the bountiful resources of Naples and the painting skills of Giuseppe. Inventories show that this painting was probably a diplomatic gift sent by Marques del Carpio, the Neapolitan viceroy from 1683 to 1687, to the Spanish Royal Court [16]. Within ten years of the painting’s arrival in Madrid, in 1694, Giuseppe was invited to serve as a painter to the Spanish King Charles II [17]. This painting and its historical context demonstrate the positive reception and high economic valuation that Giuseppe’s works garnered both in Naples and internationally. https://baroque.dahvc.org/fall-2021/files/original/Still-Life_Painting_in_Baroque_Italy_/Fish_Spiny_Lobster_Squid_and_Spider_Crab_on_a_Stone_Ledge/GBR-Recco.jpg 5a0404730deceb51a5627d3147e4430e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Still-Life Painting in Baroque Italy Subject The topic of the resource Still-Life Painting in Baroque Italy Contributor An entity responsible for making contributions to the resource Kayla Marr Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data paiting; oil on canvas Physical Dimensions The actual physical size of the original image 102 x 128.5 cm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fish, Spiny Lobster, Squid, and Spider Crab on a Stone Ledge Creator An entity primarily responsible for making the resource Giovan Battista Recco Date A point or period of time associated with an event in the lifecycle of the resource 1653 Contributor An entity responsible for making contributions to the resource Kayla Marr Format The file format, physical medium, or dimensions of the resource oil on canvas, 102 x 128.5 cm Type The nature or genre of the resource painting Description An account of the resource <div class="exhibit-block layout-text"> <h2>The Artist</h2> Giovan Battista Recco was born around 1615 in Naples, and he is assumed to be the brother of <a href="https://baroque.dahvc.org/fall-2021/exhibits/show/still-life-painting-in-baroque/giacomo-recco" target="_blank" rel="noreferrer noopener">Giacomo Recco</a> and thus also born into an intergenerational family workshop. Little is known about Giovan Battista Recco, as there are few works that are known to be signed or monogrammed by Giovan Battista [1]. Currently, there are only two paintings that are clearly signed in full and dated that serve to identify Giovan Battista’s work [2]. Additionally, there have been issues with attribution of Giovan Battista’s work, as he shares the same initials, “GBR,” as <a href="https://baroque.dahvc.org/fall-2021/exhibits/show/still-life-painting-in-baroque/giovan-battista-ruoppolo" target="_blank" rel="noreferrer noopener">Giovan Battista Ruoppolo</a>, another prominent Neapolitan still-life painter at the time. Furthermore, Giovan Battista Recco and Giovan Battista Ruoppolo both created still life paintings of similar subject matter, including kitchen interiors and pantry scenes [3]. This lack of clear attribution has led several works to be attributed to Giovan Battista simply through stylistic similarities alone. Beyond direct signatures on paintings, there are fewer than twenty works that are attributed to Giovan Battista based on seventeenth-century and eighteenth-century inventories that mention Giovan Battista under the nickname “Titta Recco” [4]. Giovan Battista is said to have been inspired by the work of Roman Caravaggesque painters and Spanish still-life paintings [5]. Some scholars have speculated that Giovan Battista may have been trained in Spain, but scholars such as Damian argue that it is more likely that Giovan Battista may have come into contact with Spanish painters residing in Naples and became influenced through that contact [6]. </div> <div class="exhibit-block layout-text"> <h2>Fish, Spiny Lobster, Squid, and Spider Crab on a Stone Ledge</h2> Fish, Spiny Lobster, Squid, and Spider Crab on a Stone Ledge is an oil on canvas painting measuring 102 by 128.5 centimeters created by Giovan Battista Recco in 1653. Signed and dated “Gio. Batta/1653,” on the upper right wooden strut of the work, this painting has been a key piece for scholars attempting to establish what works make up Giovan Battista’s body of work [7]. This marine still life painting depicts the fish and other marine life in a highly naturalistic form. The painting has a varied arrangement of the marine life spread out amongst kitchen ware such as copper bowls and woven baskets. The painting is set in a dimly lit setting, with glimmers of light reflecting off of the shimmering fish scales and slimy squid skins arranged around the painting. The light reflecting off of the marine life highlights the creatures in contrast with the painting’s dark background. </div> Source A related resource from which the described resource is derived Works Cited <ol> <li>Christie's. “Sardines Suspended from Twine and Onions on a Stone Ledge.” Giovan Battista Recco (Naples c. 1615-c. 1660). Christie's, 2006. <a href="https://www.christies.com/en/lot/lot-4836794">https://www.christies.com/en/lot/lot-4836794</a>.</li> <li>Damian Véronique, and Nicola Spinosa. “‘Natura in Posa’ in Seventeenth-Century Naples: Progress and Setbacks in Research.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 8–13. Paris, France: Galerie Canesso, 2007. </li> <li>Damian Véronique, and Nicola Spinosa. “‘Natura in Posa’ in Seventeenth-Century Naples: Progress and Setbacks in Research.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 8–13. Paris, France: Galerie Canesso, 2007. </li> <li>Christie's. “Sardines Suspended from Twine and Onions on a Stone Ledge.” Giovan Battista Recco (Naples c. 1615-c. 1660). Christie's, 2006. <a href="https://www.christies.com/en/lot/lot-4836794">https://www.christies.com/en/lot/lot-4836794</a>.</li> <li>Middione, Roberto. “Recco Family.” Oxford Art Online, 2003. <a href="https://doi.org/10.1093/gao/9781884446054.article.t071027">https://doi.org/10.1093/gao/9781884446054.article.t071027</a>.</li> <li>Damian Véronique. “Giovan Battista Recco.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 34–35. Paris, France: Galerie Canesso, 2007.</li> <li>Damian Véronique. “Giovan Battista Recco.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 34–35. Paris, France: Galerie Canesso, 2007.</li> </ol> https://baroque.dahvc.org/fall-2021/files/original/Still-Life_Painting_in_Baroque_Italy_/Pantry_Interior/GBR-Ruoppolo.jpeg 1c7727d6451d97a5f519e588279ca189 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Still-Life Painting in Baroque Italy Subject The topic of the resource Still-Life Painting in Baroque Italy Contributor An entity responsible for making contributions to the resource Kayla Marr Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data painting; oil on canvas Physical Dimensions The actual physical size of the original image 84.5 x 118 cm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pantry Interior Creator An entity primarily responsible for making the resource Giovan Battista Ruoppolo Format The file format, physical medium, or dimensions of the resource 84.5 x 118 cm Type The nature or genre of the resource oil on canvas Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Museo Diego Aragona Pignatelli Cortes, Intesa Sanpaolo Collection, Naples, Italy. Description An account of the resource <h2>The Artist</h2> Giovan Battista Ruoppolo was born in Naples in 1629 [1]. Giovan Battista’s father, Francesco Ruoppolo, was a majolica painter, and scholars such as Ulisse Prota-Giurleo assume that Giovan Battista might have worked in his father’s majolica workshop where one of Giovan Battista’s elder brothers also worked [2]. As a member of the majolica workshop, Giovan Battista may have painted designs of fish, birds, or fruits [3]. It was under Paolo Porpora’s training where Giovan Battista is assumed to have begun his venture in still life painting. Biographer Bernardo de Dominici claims that Ruoppolo was trained in Naples by <a href="https://baroque.dahvc.org/fall-2021/exhibits/show/still-life-painting-in-baroque/paolo-porpora" target="_blank" rel="noreferrer noopener">Paolo Porpora</a> prior to Porpora’s travels to Rome [4]. De Dominici claims that Giovan Battista quickly surpassed Porpora’s skill and began to specialize in the painting of fruits, particularly grapes [5]. However, there is currently no existing documentation that confirms that Giovan Battista was Porpora’s pupil [6]. Furthermore, uncertainty regarding attribution of Giovan Battista’s work exists because of his shared initials, “GBR,” with <a href="https://baroque.dahvc.org/fall-2021/exhibits/show/still-life-painting-in-baroque/giovan-battista-recco" target="_blank" rel="noreferrer noopener">Giovan Battista Recco</a>, another Neapolitan still life painter contemporary to Ruoppolo. However, Giovan Battista Ruoppolo’s particular specialization in painting fruits differentiates him from Recco, who appeared to have been more inclined towards marine life paintings. In De Dominici’s account of Giovan Battista’s life, he claims that members of the aristocracy and wealthy class of Naples were keen to collect Giovan Battista’s work [7]. Furthermore, De Dominici credits Giovan Battista with collaborating on four of the fourteen paintings created for the 1684 Corpus Domini exhibition commissioned by Marchese del Caprio, Viceroy of Naples from 1683 to 1687 [8]. Giovan Battista’s inclusion in this significant artististic project suggests the high renown that his still life works were held. Giovan Battista contributed to these large-scale paintings with his depiction of fruits, flowers, grapes, vegetables, and animals that complemented the figures created by history painters [9]. Source A related resource from which the described resource is derived Works Cited <ol> <li> Middione, Roberto. "Ruoppolo, Giovanni Battista." Grove Art Online. 2003. <a href="https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000074501">https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.00</a><a href="https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000074501">01/oao-9781884446054-e-7000074501</a>. </li> <li> Damian Véronique. “Giovan Battista Ruoppolo.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 106-107. Paris, France: Galerie Canesso, 2007. </li> <li> Damian Véronique. “Giovan Battista Ruoppolo.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 106-107. Paris, France: Galerie Canesso, 2007. </li> <li> Dominici, Bernardo De', Fiorella Sricchia Santoro, and Andrea Zezza. Vite De' Pittori, Scultori e Architetti Napoletani. Napoli: Paparo, 2003. </li> <li> Dominici, Bernardo De', Fiorella Sricchia Santoro, and Andrea Zezza. Vite De' Pittori, Scultori e Architetti Napoletani. Napoli: Paparo, 2003. </li> <li> Damian Véronique. “Giovan Battista Ruoppolo.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 106-107. Paris, France: Galerie Canesso, 2007. </li> <li> Middione, Roberto. "Ruoppolo, Giovanni Battista." Grove Art Online. 2003. <a href="https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000074501">https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000074501</a>. </li> <li> Damian Véronique. “Giovan Battista Ruoppolo.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 106-107. Paris, France: Galerie Canesso, 2007. </li> <li> Damian Véronique. “Giovan Battista Ruoppolo.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 106-107. Paris, France: Galerie Canesso, 2007. </li> </ol> Publisher An entity responsible for making the resource available Museo Diego Aragona Pignatelli Cortes. Date A point or period of time associated with an event in the lifecycle of the resource unknown Contributor An entity responsible for making contributions to the resource Kayla Marr Rights Information about rights held in and over the resource Museo Diego Aragona Pignatelli Cortes. https://baroque.dahvc.org/fall-2021/files/original/Still-Life_Painting_in_Baroque_Italy_/Vase_of_Flowers/GiacomoRecco.jpg 31327c2e3cfa3287f67b65f66b37efa9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Still-Life Painting in Baroque Italy Subject The topic of the resource Still-Life Painting in Baroque Italy Contributor An entity responsible for making contributions to the resource Kayla Marr Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data painting; oil on canvas Physical Dimensions The actual physical size of the original image 67 x 50 cm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Vase of Flowers Creator An entity primarily responsible for making the resource Giacomo Recco Source A related resource from which the described resource is derived Works Cited <ol> <li> Middione, Roberto. “Recco Family.” Oxford Art Online, 2003. <a href="https://doi.org/10.1093/gao/9781884446054.article.t071027">https://doi.org/10.1093/gao/9781884446054.article.t071027</a>. </li> <li> Causa, Raffaello. La Natura Morta a Napoli Nel Sei e Nel Settecento. 5. Vol. 5. Storia Di Napoli. Napoli, Italia: Società editrice storia di Napoli, 1969. </li> <li> Middione, Roberto. “Recco Family.” Oxford Art Online, 2003. <a href="https://doi.org/10.1093/gao/9781884446054.article.t071027">https://doi.org/10.1093/gao/9781884446054.article.t071027</a>. </li> <li> Damian Véronique, and Nicola Spinosa. “‘Natura in Posa’ in Seventeenth-Century Naples: Progress and Setbacks in Research.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 8–13. Paris, France: Galerie Canesso, 2007. </li> <li> Damian Véronique, and Nicola Spinosa. “‘Natura in Posa’ in Seventeenth-Century Naples: Progress and Setbacks in Research.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 8–13. Paris, France: Galerie Canesso, 2007. </li> <li> Damian Véronique and Claudia Salvi. “Giuseppe Recco.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 80-81. Paris, France: Galerie Canesso, 2007. </li> <li> Damian Véronique, and Nicola Spinosa. “‘Natura in Posa’ in Seventeenth-Century Naples: Progress and Setbacks in Research.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 8–13. Paris, France: Galerie Canesso, 2007. </li> <li> Causa, Raffaello. La Natura Morta a Napoli Nel Sei e Nel Settecento. 5. Vol. 5. Storia Di Napoli. Napoli, Italia: Società editrice storia di Napoli, 1969. </li> </ol> Image RKD. “Giovanni Battista Recco: Still Life with Fish and Oysters.” RKD – Netherlands Institute for Art History. RKD, October 31, 2019. <a href="https://rkd.nl/explore/images/295775">https://rkd.nl/explore/images/295775</a>. Publisher An entity responsible for making the resource available FONDAZIONE FEDERICO ZERI - Università di Bologna - piazzetta Giorgio Morandi, 2 - 40125 Bologna - Partita IVA: 10561041004 Date A point or period of time associated with an event in the lifecycle of the resource 1626 Contributor An entity responsible for making contributions to the resource Kayla Marr Description An account of the resource <div class="exhibit-block layout-text"> <h2>The Artist</h2> Giacomo Recco was born in Naples in 1603 and is considered to be one of the founders of still life painting in Naples during the 17th century. Giacomo is known for specializing in painting flower subjects and as being inspired by Mannerist art of the late 16th century [1]. Scholars such as Raffaello Causa, believe it is likely that Giacomo was influenced by the works of Flemish artists such as Jan Brueghel, who was present in Naples around 1590 [2]. Scholars also suggest that the naturalism present in the work of Caravaggio, who briefly lived in Naples near the end of his life, was an influence in Giacomo’s compositions [3]. Although Giacomo was one of the first Neapolitan still-life painters and father to one of the most highly regarded 17th century still life painters, <a href="https://baroque.dahvc.org/fall-2021/exhibits/show/still-life-painting-in-baroque/giuseppe-recco" target="_blank" rel="noreferrer noopener">Giuseppe Recco</a>, much of the identity of Giacomo still remains highly uncertain. There are few works that can be attributed to Giacomo for certain, and many of the works that have been attributed to Giacomo have been on a stylistic basis [4]. For example, Giacomo’s Vase of Flowers is his only painting that has been dated, dated 1626. It is likely that Giacomo established the Recco family workshop, which his son Giuseppe and future members of the Recco family would eventually work [5]. Within Giacomo’s workshop, he trained another notable Neapolitan still life painter: <a href="https://baroque.dahvc.org/fall-2021/exhibits/show/still-life-painting-in-baroque/paolo-porpora" target="_blank" rel="noreferrer noopener">Paolo Porpora</a>. A 1632 contract between Giacomo and Angela Cantalena, mother of Porpora, confirms that Porpora became a pupil of Giacomo’s starting at the age of 15 [6]. As suggested by Nicola Spinosa, the lack of information of Giacomo’s life also complicates the attribution of Giacomo’s most well-known pupil, Porpora [7]. </div> <div class="exhibit-block layout-text"> <h2>Vase of Flowers</h2> Vase of Flowers was created by Giacomo Recco in 1626, and it is the only painting of his that has been dated [8]. This oil on canvas painting measures 67 by 50 centimeters and is signed “G.R.” This single vase arrangement of flowers is richly decorated and likely influenced by sixteenth-century decoration of the Mannerist style. Although unfortunately pictured in black and white, we are unable to appreciate the colors used in the painting. The painting appears symmetrically balanced and highly organized with an unnatural lighting hitting the painting and the vase. </div> Rights Information about rights held in and over the resource FONDAZIONE FEDERICO ZERI - Università di Bologna - piazzetta Giorgio Morandi, 2 - 40125 Bologna - Partita IVA: 10561041004 Type The nature or genre of the resource painting; oil on canvas https://baroque.dahvc.org/fall-2021/files/original/Still-Life_Painting_in_Baroque_Italy_/Watermelon_melon_grapes_apples_pomegranates_peaches_figs_and_quinces_in_a_landscape/Ruoppolo-FruitStillLife.jpeg ce7a3b46f1d57786eb215dc5c19d8549 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Still-Life Painting in Baroque Italy Subject The topic of the resource Still-Life Painting in Baroque Italy Contributor An entity responsible for making contributions to the resource Kayla Marr Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data painting; oil on canvas Physical Dimensions The actual physical size of the original image 101 x 154 cm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Watermelon, melon, grapes, apples, pomegranates, peaches, figs and quinces in a landscape Creator An entity primarily responsible for making the resource Giovan Battista Ruoppolo Source A related resource from which the described resource is derived Works Cited <ol> <li> Middione, Roberto. "Ruoppolo, Giovanni Battista." Grove Art Online. 2003. <a href="https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000074501">https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.00</a><a href="https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000074501">01/oao-9781884446054-e-7000074501</a>. </li> <li> Damian Véronique. “Giovan Battista Ruoppolo.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 106-107. Paris, France: Galerie Canesso, 2007. </li> <li> Damian Véronique. “Giovan Battista Ruoppolo.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 106-107. Paris, France: Galerie Canesso, 2007. </li> <li> Dominici, Bernardo De', Fiorella Sricchia Santoro, and Andrea Zezza. Vite De' Pittori, Scultori e Architetti Napoletani. Napoli: Paparo, 2003. </li> <li> Dominici, Bernardo De', Fiorella Sricchia Santoro, and Andrea Zezza. Vite De' Pittori, Scultori e Architetti Napoletani. Napoli: Paparo, 2003. </li> <li> Damian Véronique. “Giovan Battista Ruoppolo.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 106-107. Paris, France: Galerie Canesso, 2007. </li> <li> Middione, Roberto. "Ruoppolo, Giovanni Battista." Grove Art Online. 2003. <a href="https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000074501">https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000074501</a>. </li> <li> Damian Véronique. “Giovan Battista Ruoppolo.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 106-107. Paris, France: Galerie Canesso, 2007. </li> <li> Damian Véronique. “Giovan Battista Ruoppolo.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 106-107. Paris, France: Galerie Canesso, 2007. </li> <li> “Giovanni Battista Ruoppolo.” Sothebys.com. <a href="https://www.sothebys.com/en/auctions/ecatalogue/2018/master-paintings-n09875/lot.57.html">https://www.sothebys.com/en/auctions/ecatalogue/2018/master-paintings-n09875/lot.57.html</a>. </li> <li> Damian Véronique, and Gerard Labrot. “Neapolitan Still Life: New Demands on the Sense of Sight.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 28–30. Paris, France: Galerie Canesso, 2007. </li> </ol> Image “Giovanni Battista Ruoppolo.” Sothebys.com. <a href="https://www.sothebys.com/en/auctions/ecatalogue/2018/master-paintings-n09875/lot.57.html">https://www.sothebys.com/en/auctions/ecatalogue/2018/master-paintings-n09875/lot.57.html</a>. Contributor An entity responsible for making contributions to the resource Kayla Marr Description An account of the resource <div class="exhibit-block layout-text"> <h2>The Artist</h2> Giovan Battista Ruoppolo was born in Naples in 1629 [1]. Giovan Battista’s father, Francesco Ruoppolo, was a majolica painter, and scholars such as Ulisse Prota-Giurleo assume that Giovan Battista might have worked in his father’s majolica workshop where one of Giovan Battista’s elder brothers also worked [2]. As a member of the majolica workshop, Giovan Battista may have painted designs of fish, birds, or fruits [3]. It was under Paolo Porpora’s training where Giovan Battista is assumed to have begun his venture in still life painting. Biographer Bernardo de Dominici claims that Ruoppolo was trained in Naples by <a href="https://baroque.dahvc.org/fall-2021/exhibits/show/still-life-painting-in-baroque/paolo-porpora" target="_blank" rel="noreferrer noopener">Paolo Porpora</a> prior to Porpora’s travels to Rome [4]. De Dominici claims that Giovan Battista quickly surpassed Porpora’s skill and began to specialize in the painting of fruits, particularly grapes [5]. However, there is currently no existing documentation that confirms that Giovan Battista was Porpora’s pupil [6]. Furthermore, uncertainty regarding attribution of Giovan Battista’s work exists because of his shared initials, “GBR,” with <a href="https://baroque.dahvc.org/fall-2021/exhibits/show/still-life-painting-in-baroque/giovan-battista-recco" target="_blank" rel="noreferrer noopener">Giovan Battista Recco</a>, another Neapolitan still life painter contemporary to Ruoppolo. However, Giovan Battista Ruoppolo’s particular specialization in painting fruits differentiates him from Recco, who appeared to have been more inclined towards marine life paintings. In De Dominici’s account of Giovan Battista’s life, he claims that members of the aristocracy and wealthy class of Naples were keen to collect Giovan Battista’s work [7]. Furthermore, De Dominici credits Giovan Battista with collaborating on four of the fourteen paintings created for the 1684 Corpus Domini exhibition commissioned by Marchese del Caprio, Viceroy of Naples from 1683 to 1687 [8]. Giovan Battista’s inclusion in this significant artististic project suggests the high renown that his still life works were held. Giovan Battista contributed to these large-scale paintings with his depiction of fruits, flowers, grapes, vegetables, and animals that complemented the figures created by history painters [9]. </div> <div class="exhibit-block layout-text"> <h2>Watermelon, melon, grapes, apples, pomegranates, peaches, figs and quinces in a landscape</h2> Watermelon, melon, grapes, apples, pomegranates, peaches, figs and quinces in a landscape is an oil on canvas painting created by Giovan Battista Ruoppolo [10]. The painting measures 101 by 154 centimeters. The painting includes a highly realistic depiction of fruits and details such as the dust on grapes. The spread includes a freshly sliced watermelon, which scholars such as Gerard Labrot characterize as a signature element of Ruoppolo’s work [11]. </div> Publisher An entity responsible for making the resource available Anonymous sale, New York, Sotheby's, 13 October 1989, lot 178 (as Circle of Ruoppolo) Image “Giovanni Battista Ruoppolo.” Sothebys.com. https://www.sothebys.com/en/auctions/ecatalogue/2018/master-paintings-n09875/lot.57.html. Date A point or period of time associated with an event in the lifecycle of the resource unknown Type The nature or genre of the resource painting; oil on canvas Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Private collection. https://baroque.dahvc.org/fall-2021/files/original/Still-Life_Painting_in_Baroque_Italy_/Flowers_in_a_Vase_Decorated_with_Reliefs/GiuseppeRecco-Vase.jpeg 35ba188bdacd2230a2a091a43b1b10d5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Still-Life Painting in Baroque Italy Subject The topic of the resource Still-Life Painting in Baroque Italy Contributor An entity responsible for making contributions to the resource Kayla Marr Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data painting; oil on canvas Physical Dimensions The actual physical size of the original image 256.5 x 201 cm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Flowers in a Vase Decorated with Reliefs Description An account of the resource <h2>The Artist</h2> Giuseppe Recco was born into an intergenerational family workshop of still-life painters in 1634 in Naples [1]. Much of what is known about Giuseppe comes from Bernardo De Dominici’s Vite dei pittori, scultori ed architetti napoletani, which was published between 1742 and 1745 [2]. De Dominici knew Giuseppe personally, and he was known to occasionally exaggerate or distort Giuseppe’s achievements. Giuseppe’s father, <a href="https://baroque.dahvc.org/fall-2021/exhibits/show/still-life-painting-in-baroque/giacomo-recco" target="_blank" rel="noreferrer noopener">Giacomo Recco</a> (1603-1654), is considered one of the founders of still-life painting in Naples starting in the 1630s [3]. Within the Recco family workshop, it is likely that Giuseppe would have also worked with his assumed uncle, <a href="https://baroque.dahvc.org/fall-2021/exhibits/show/still-life-painting-in-baroque/giovan-battista-recco" target="_blank" rel="noreferrer noopener">Giovan Battista Recco</a> [4]. Claudia Salvi argues that Giuseppe’s uncle Giovan Battista likely influenced his paintings of food and dead animals, which are similar in styles to Giovan Battista’s own compositions [5]. It is in the Recco workshop, where <a href="https://baroque.dahvc.org/fall-2021/exhibits/show/still-life-painting-in-baroque/paolo-porpora" target="_blank" rel="noreferrer noopener">Paolo Porpora</a> also trained, where Giuseppe honed his painting skills and developed his painting style that has earned him much renown [6]. Giuseppe’s paintings demonstrate his mastery of a broad range of painting subjects, including flowers, marine fauna, vegetables, fruit, and kitchen items. Giuseppe Recco’s paintings varied in size and price range. Furthermore, Giuseppe’s work exemplifies Neapolitan still-life painting with his use of objects placed against a dark background or dark interior. The contrast between the sharp lighting on the objects and the dark background add to the dramatic and decadent characteristic of Neapolitan still-life paintings. Giuseppe’s biographer, Bernardo De Dominici, argued that Giuseppe had gained high social prestige amongst aristocrats and bourgeois members of Naples. As stated by De Dominici, Giuseppe’s still-life paintings became highly sought after, as he had powerful patrons including the Marchese de los Vélez, viceroy of Naples from 1675 to 1682, and the Marchese del Carpio, viceroy of Naples from 1683 to 1687 [7]. De Dominici also claimed that Giuseppe had also become knighted and invited to paint for Charles II in Spain in 1695. However, Giuseppe died in 1695 shortly after the challenging journey to Alicante. De Dominici made bold claims of Giuseppe’s reputation, which some scholars dispute due to the lack of documentation to confirm his claims [8]. <h2>Flowers in a Vase Decorated with Reliefs</h2> Flowers in a Vase Decorated with Reliefs painted by Giuseppe Recco is part of a pair of paintings commissioned by John Cecil, the fifth Earl of Exeter (1648–1700) in 1684 [18]. This oil on canvas painting, which measures 256.5 by 201 centimeters, was acquired by the British consul George Davies in Naples on behalf of the fifth Earl for 400 ducats, for the pair of paintings, in 1684 [19]. Flowers in a Vase Decorated with Reliefs is an example of Giuseppe’s international reach and mastery of a range of subjects. During his 1684 visit to Naples, the fifth Earl commissioned several still life paintings from Giuseppe [20]. As part of a pair of paintings, this composition’s price of 200 ducats shows the great economic valuation of Giuseppe’s paintings. The Earl also commissioned more still life paintings, two large paintings of fish and four smaller paintings including fish and game, in 1685 from Giuseppe after this piece [21]. Claudia Salvi suggests that Giuseppe painted in various genres and adjusted his painting style to the taste of particular patrons [22]. This painting is reminiscent in style to Flemish or Dutch still life paintings of decadent bouquets. In the pair of paintings, the large vases are decorated in reliefs that depict mythological scenes. This relief includes figures of Perseus and Andromeda, while the other painting in the pair includes Lapiths and Centaurs. Vividly colored and detailed flowers fill the vase in the foreground. The painting is decadent and brilliant in color, with the setting appearing to be the interior of a grand palace. The vase is situated in a room with a table draped in a red satin cloth and another satin cloth on the ground amidst more flowers. Behind the vase, there is an ornamental parapet with a few more smaller pots of flowers. The background of the painting looks out to a landscape of hills and a cloudy sky. This painting creates a bountiful and rich scene suitable to the tastes of the Earl. Creator An entity primarily responsible for making the resource Giuseppe Recco Source A related resource from which the described resource is derived Works Cited <ol> <li> Forgione, Gianluca. “Giuseppe Recco.” Essay. In Dizionario Biografico Degli Italiani 86, 86:690–93. Roma: Istituto della Enciclopedia Italiana, 2016. </li> <li> “Giuseppe Recco - A Cat Stealing Fish.” Metmuseum.org. The Metropolitan Museum of Art. Accessed October 13, 2021. <a href="https://www.metmuseum.org/art/collection/search/437376">https://www.metmuseum.org/art/collection/search/437376</a>. </li> <li> Causa, Raffaello. La Natura Morta a Napoli Nel Sei e Nel Settecento. 5. Vol. 5. Storia Di Napoli. Napoli, Italia: Società editrice storia di Napoli, 1969. </li> <li> Damian Véronique. “Giovan Battista Recco.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 34–35. Paris, France: Galerie Canesso, 2007. </li> <li> Damian Véronique and Claudia Salvi. “Giuseppe Recco.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 80-81. Paris, France: Galerie Canesso, 2007 </li> <li> Damian Véronique and Claudia Salvi. “Giuseppe Recco.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 80-81. Paris, France: Galerie Canesso, 2007 </li> <li> Marshall, Christopher. “More Beautiful than Nature Itself: The Early Commercial and Critical Fortunes of Neapolitan Baroque Still-Life Painting.” Open Arts Journal 2017-18, no. 6 (2018). <a href="https://doi.org/10.5456/issn.2050-3679/2018w07">https://doi.org/10.5456/issn.2050-3679/2018w07</a>. </li> <li> Damian Véronique and Claudia Salvi. “Giuseppe Recco.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 80-81. Paris, France: Galerie Canesso, 2007 </li> <li> Marshall, Christopher. “More Beautiful than Nature Itself: The Early Commercial and Critical Fortunes of Neapolitan Baroque Still-Life Painting.” Open Arts Journal 2017-18, no. 6 (2018). <a href="https://doi.org/10.5456/issn.2050-3679/2018w07">https://doi.org/10.5456/issn.2050-3679/2018w07</a>. </li> <li> Marshall, Christopher. “More Beautiful than Nature Itself: The Early Commercial and Critical Fortunes of Neapolitan Baroque Still-Life Painting.” Open Arts Journal 2017-18, no. 6 (2018). <a href="https://doi.org/10.5456/issn.2050-3679/2018w07">https://doi.org/10.5456/issn.2050-3679/2018w07</a>. </li> <li> Marshall, Christopher. “More Beautiful than Nature Itself: The Early Commercial and Critical Fortunes of Neapolitan Baroque Still-Life Painting.” Open Arts Journal 2017-18, no. 6 (2018). <a href="https://doi.org/10.5456/issn.2050-3679/2018w07">https://doi.org/10.5456/issn.2050-3679/2018w07</a>. </li> <li> Marshall, Christopher. “More Beautiful than Nature Itself: The Early Commercial and Critical Fortunes of Neapolitan Baroque Still-Life Painting.” Open Arts Journal 2017-18, no. 6 (2018). <a href="https://doi.org/10.5456/issn.2050-3679/2018w07">https://doi.org/10.5456/issn.2050-3679/2018w07</a>. </li> <li> Marshall, Christopher. “More Beautiful than Nature Itself: The Early Commercial and Critical Fortunes of Neapolitan Baroque Still-Life Painting.” Open Arts Journal 2017-18, no. 6 (2018). <a href="https://doi.org/10.5456/issn.2050-3679/2018w07">https://doi.org/10.5456/issn.2050-3679/2018w07</a>. </li> <li> Giordano, Luca, and Giuseppe Recco. “The Riches of the Sea with Neptune, Tritons and Two Nereids.” AGSA. Art Gallery of South Australia, January 1, 1684. <a href="https://www.agsa.sa.gov.au/collection-publications/collection/works/the-riches-of-the-sea-with-neptune-tritons-and-two-nereids/27349/">https://www.agsa.sa.gov.au/collection-publications/collection/works/the-riches-of-the-sea-with-neptune-tritons-and-two-nereids/27349/</a>. </li> <li> Marshall, Christopher. “More Beautiful than Nature Itself: The Early Commercial and Critical Fortunes of Neapolitan Baroque Still-Life Painting.” Open Arts Journal 2017-18, no. 6 (2018). <a href="https://doi.org/10.5456/issn.2050-3679/2018w07">https://doi.org/10.5456/issn.2050-3679/2018w07</a>. </li> <li> Marshall, Christopher. “More Beautiful than Nature Itself: The Early Commercial and Critical Fortunes of Neapolitan Baroque Still-Life Painting.” Open Arts Journal 2017-18, no. 6 (2018). <a href="https://doi.org/10.5456/issn.2050-3679/2018w07">https://doi.org/10.5456/issn.2050-3679/2018w07</a>. </li> <li> Marshall, Christopher. “More Beautiful than Nature Itself: The Early Commercial and Critical Fortunes of Neapolitan Baroque Still-Life Painting.” Open Arts Journal 2017-18, no. 6 (2018). <a href="https://doi.org/10.5456/issn.2050-3679/2018w07">https://doi.org/10.5456/issn.2050-3679/2018w07</a>. </li> <li> “Giuseppe Recco: A Still Life Painting.” Giuseppe Recco. | Burghley Collections. Burghley House Preservation Trust Limited. <a href="https://collections.burghley.co.uk/collection/giuseppe-recco/">https://collections.burghley.co.uk/collection/giuseppe-recco/</a>. </li> <li> "Giuseppe Recco: A Still Life Painting.” Giuseppe Recco. | Burghley Collections. Burghley House Preservation Trust Limited. <a href="https://collections.burghley.co.uk/collection/giuseppe-recco/">https://collections.burghley.co.uk/collection/giuseppe-recco/</a>. </li> <li> Marshall, Christopher. “More Beautiful than Nature Itself: The Early Commercial and Critical Fortunes of Neapolitan Baroque Still-Life Painting.” Open Arts Journal 2017-18, no. 6 (2018). <a href="https://doi.org/10.5456/issn.2050-3679/2018w07">https://doi.org/10.5456/issn.2050-3679/2018w07</a>. </li> <li> Marshall, Christopher. “More Beautiful than Nature Itself: The Early Commercial and Critical Fortunes of Neapolitan Baroque Still-Life Painting.” Open Arts Journal 2017-18, no. 6 (2018). <a href="https://doi.org/10.5456/issn.2050-3679/2018w07">https://doi.org/10.5456/issn.2050-3679/2018w07</a>. </li> <li>Damian Véronique and Claudia Salvi. “Giuseppe Recco.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 80-81. Paris, France: Galerie Canesso, 2007</li> </ol> Image "Giuseppe Recco: A Still Life Painting.” Giuseppe Recco. | Burghley Collections. Burghley House Preservation Trust Limited. <a href="https://collections.burghley.co.uk/collection/giuseppe-recco/">https://collections.burghley.co.uk/collection/giuseppe-recco/</a>. Contributor An entity responsible for making contributions to the resource Kayla Marr Format The file format, physical medium, or dimensions of the resource 256.5 x 201 cm Publisher An entity responsible for making the resource available "Giuseppe Recco: A Still Life Painting.” Giuseppe Recco. | Burghley Collections. Burghley House Preservation Trust Limited. <a href="https://collections.burghley.co.uk/collection/giuseppe-recco/">https://collections.burghley.co.uk/collection/giuseppe-recco/</a>. Date A point or period of time associated with an event in the lifecycle of the resource 1684 Rights Information about rights held in and over the resource Burghley Collections. Burghley House Preservation Trust Limited. Type The nature or genre of the resource oil on canvas Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Burghley House, Burghley Collections, Stamford, UK. https://baroque.dahvc.org/fall-2021/files/original/Still-Life_Painting_in_Baroque_Italy_/Still_Life_with_Grapes_and_Other_Fruit/Forte.png 8ae284e6c516b73c9370932c6187c21b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Still-Life Painting in Baroque Italy Subject The topic of the resource Still-Life Painting in Baroque Italy Contributor An entity responsible for making contributions to the resource Kayla Marr Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data painting; oil on copper Physical Dimensions The actual physical size of the original image 31.4 × 25.9 cm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Still Life with Grapes and Other Fruit Creator An entity primarily responsible for making the resource Luca Forte Type The nature or genre of the resource painting; oil on copper Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Getty Center, Los Angeles, California, Museum South Pavilion, Gallery S201 Source A related resource from which the described resource is derived Works Cited <ol> <li>Causa, Raffaello. La Natura Morta a Napoli Nel Sei e Nel Settecento. 5. Vol. 5. Storia Di Napoli. Napoli, Italia: Società editrice storia di Napoli, 1969.</li> <li> Marshall, Christopher. “More Beautiful than Nature Itself: The Early Commercial and Critical Fortunes of Neapolitan Baroque Still-Life Painting.” Open Arts Journal 2017-18, no. 6 (2018). <a href="https://doi.org/10.5456/issn.2050-3679/2018w07">https://doi.org/10.5456/issn.2050-3679/2018w07</a>. </li> <li> Marshall, Christopher. “More Beautiful than Nature Itself: The Early Commercial and Critical Fortunes of Neapolitan Baroque Still-Life Painting.” Open Arts Journal 2017-18, no. 6 (2018). <a href="https://doi.org/10.5456/issn.2050-3679/2018w07">https://doi.org/10.5456/issn.2050-3679/2018w07</a>. </li> <li> “Still Life with Grapes and Other Fruit (Getty Museum).” The J. Paul Getty in Los Angeles. Getty Museum, January 1, 1970. <a href="https://www.getty.edu/art/collection/objects/788/luca-forte-still-life-with-grapes-and-other-fruit-italian-1630s/?dz=0.5000%2C0.6087%2C0.46">https://www.getty.edu/art/collection/objects/788/luca-forte-still-life-with-grapes-and-other-fruit-italian-1630s/?dz=0.5000%2C0.6087%2C0.46</a>. </li> <li> “Still Life with Grapes and Other Fruit (Getty Museum).” The J. Paul Getty in Los Angeles. Getty Museum, January 1, 1970. <a href="https://www.getty.edu/art/collection/objects/788/luca-forte-still-life-with-grapes-and-other-fruit-italian-1630s/?dz=0.5000%2C0.6087%2C0.46">https://www.getty.edu/art/collection/objects/788/luca-forte-still-life-with-grapes-and-other-fruit-italian-1630s/?dz=0.5000%2C0.6087%2C0.46</a>.</li> </ol> Image “Still Life with Grapes and Other Fruit (Getty Museum).” The J. Paul Getty in Los Angeles. Getty Museum, January 1, 1970. <a href="https://www.getty.edu/art/collection/objects/788/luca-forte-still-life-with-grapes-and-other-fruit-italian-1630s/?dz=0.5000%2C0.6087%2C0.46">https://www.getty.edu/art/collection/objects/788/luca-forte-still-life-with-grapes-and-other-fruit-italian-1630s/?dz=0.5000%2C0.6087%2C0.46</a>. Date A point or period of time associated with an event in the lifecycle of the resource circa 1630s Contributor An entity responsible for making contributions to the resource Kayla Marr Description An account of the resource <h2>The Artist</h2> Luca Forte was born between 1600 and 1605 in Naples [1]. There is little biographical information on Luca Forte, but he is still considered to be one of the founders of still life painting in Naples. Much of the information and timeline of Forte’s activity has been pieced together through analysis of his rarely dated works and the evolution of his painting style in these works. Furthermore, study of correspondences with patrons and patron inventories also provide details into Forte’s career. Forte’s paintings tended to be on the smaller scale, ranging from 50 to 75 centimetres in width [2]. These more modest sized paintings were accompanied by a more modest price range in Naples, as stated by Christopher Marshall who cites lower priced works by <a href="https://baroque.dahvc.org/fall-2021/exhibits/show/still-life-painting-in-baroque/giacomo-recco" target="_blank" rel="noreferrer noopener">Giacomo Recco</a> who was Forte’s contemporary. However, Forte also worked on many larger scale works that earned him large payments and prestige. In particular, Forte’s detailed correspondence with Don Antonio Ruffo of Messina in 1649, shows conversation between Forte and Ruffo about Forte’s pricing of his work. Ruffo commissioned a still life painting from Forte, paying Forte an initial down payment of 50 ducats. Two weeks after receiving the down payment, Forte responded to Ruffo’s inquiries about the final price of the piece by stating that the composition would cost around 200 ducats [3]. Christopher Marshall argues that this series of exchanges suggests that Forte may have regularly received commissions of a similar price and prestige, however the available documentary evidence limits scholars’ ability to confirm. <h2>Still Life with Grapes and Other Fruit</h2> Still Life with Grapes and Other Fruit is an oil on copper painting created by Luca Forte in the 1630s [4]. The painting measures 31.4 by 25.9 centimeters and is signed “Luca Forte” in the lower left portion of the painting on the brick of the painted wall. The painting illustrates a bounty of various fruits, including grapes, apples, pears, and pomegranates in the foreground. A landscape of rolling hills is pictured in the background. This decision to use a landscape as the background follows in the lead of Caravaggio’s style, rather than the Neapolitan style of using dark background [5]. Characteristic of Forte’s work, he also included fine details including the bird flying above the grapes, a grasshopper perched on a grape vine, and water drops of moisture on both the fruits and the vase holding the grape plant. Forte’s careful brush strokes deftly depict the form, shadows, light, and solidity of the fruits depicted in the painting. Publisher An entity responsible for making the resource available “Still Life with Grapes and Other Fruit (Getty Museum).” The J. Paul Getty in Los Angeles. Getty Museum, January 1, 1970. <a href="https://www.getty.edu/art/collection/objects/788/luca-forte-still-life-with-grapes-and-other-fruit-italian-1630s/?dz=0.5000%2C0.6087%2C0.46">https://www.getty.edu/art/collection/objects/788/luca-forte-still-life-with-grapes-and-other-fruit-italian-1630s/?dz=0.5000%2C0.6087%2C0.46</a>. Rights Information about rights held in and over the resource Public Domain Format The file format, physical medium, or dimensions of the resource 31.4 × 25.9 cm https://baroque.dahvc.org/fall-2021/files/original/Still-Life_Painting_in_Baroque_Italy_/369/Porpora.jpeg 8c2a3e64d6f2271394822e5e8ed8d687 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Still-Life Painting in Baroque Italy Subject The topic of the resource Still-Life Painting in Baroque Italy Contributor An entity responsible for making contributions to the resource Kayla Marr Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data painting; oil on canvas Physical Dimensions The actual physical size of the original image 121.9 x 172.7 cm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Hares, a tortoise, a crocodile, frogs, quails, a hedgehog, butterflies, dragonflies and parakeets by a pool, with flowers, strawberries and a river in the distance Creator An entity primarily responsible for making the resource Paolo Porpora Source A related resource from which the described resource is derived Works Cited <ol> <li> "Porpora, Paolo." Benezit Dictionary of Artists. 31 Oct. 2011; <a href="https://www-oxfordartonline-com.proxy.lib.duke.edu/benezit/view/10.1093/benz/9780199773787.001.0001/acref-9780199773787-e-00144686">https://www-oxfordartonline-com.proxy.lib.duke.edu/benezit/view/10.1093/benz/9780199773787.001.0001/acref-9780199773787-e-00144686</a>. </li> <li> Damian Véronique and Claudia Salvi. “Giuseppe Recco.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 80-81. Paris, France: Galerie Canesso, 2007. </li> <li> Damian Véronique. “Paolo Porpora.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 46-47. Paris, France: Galerie Canesso, 2007. </li> <li> Damian Véronique, and Nicola Spinosa. “‘Natura in Posa’ in Seventeenth-Century Naples: Progress and Setbacks in Research.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 8–13. Paris, France: Galerie Canesso, 2007. </li> <li> "Porpora, Paolo." Benezit Dictionary of Artists. 31 Oct. 2011; <a href="https://www-oxfordartonline-com.proxy.lib.duke.edu/benezit/view/10.1093/benz/9780199773787.001.0001/acref-9780199773787-e-00144686">https://www-oxfordartonline-com.proxy.lib.duke.edu/benezit/view/10.1093/benz/9780199773787.001.0001/acref-9780199773787-e-00144686</a>. </li> <li> Damian Véronique. “Paolo Porpora.” Essay. In L'œil Gourmand: A Journey through Neapolitan Still Life of the 17th Century: Paris, Galerie Canesso, 26 September - 27 October 2007, 46-47. Paris, France: Galerie Canesso, 2007. </li> <li> Causa, Raffaello. La Natura Morta a Napoli Nel Sei e Nel Settecento. 5. Vol. 5. Storia Di Napoli. Napoli, Italia: Società editrice storia di Napoli, 1969. </li> <li> “Hares, a Tortoise, a Crocodile, Frogs, Quails, a Hedgehog, Butterflies, Dragonflies and Parakeets by a Pool, with Flowers, Strawberries and a River in the Distance.” Paolo Porpora (Naples 1617-1670/80 Rome or Naples). Christie's. <a href="https://www.christies.com/en/lot/lot-5721193">https://www.christies.com/en/lot/lot-5721193</a>. </li> <li> Marshall, Christopher. “More Beautiful than Nature Itself: The Early Commercial and Critical Fortunes of Neapolitan Baroque Still-Life Painting.” Open Arts Journal 2017-18, no. 6 (2018). <a href="https://doi.org/10.5456/issn.2050-3679/2018w07">https://doi.org/10.5456/issn.2050-3679/2018w07</a>. </li> </ol> Description An account of the resource <div class="exhibit-block layout-text"> <h2>The Artist</h2> Paolo Porpora was born in Naples in 1617 and spent the first ten to twenty years of his career in Naples, before moving to Rome [1]. Porpora became a pupil in <a href="https://baroque.dahvc.org/fall-2021/exhibits/show/still-life-painting-in-baroque/giacomo-recco" target="_blank" rel="noreferrer noopener">Giacomo Recco</a>’s bottega (workshop) in 1632 at age 15, as evidenced by a 1632 contract between Recco and Angela Cantalena, mother of Porpora [2]. During his time in Naples, Porpora also trained <a href="https://baroque.dahvc.org/fall-2021/exhibits/show/still-life-painting-in-baroque/giovan-battista-ruoppolo" target="_blank" rel="noreferrer noopener">Giovan Battista Ruoppolo</a>, another renowned Neapolitan still life painter [3]. Similar to his teacher Giacomo Recco, modern scholarship is still working to piece together Porpora’s oeuvre. As suggested by Nicola Spinosa, some of the early marine life compositions attributed to Porpora could perhaps be Recco’s, as little is known about both artists [4]. Starting from 1656, Porpora was in Rome as a member of the Accademia di San Luca [5]. In Rome, Porpora gained esteem as an artist, as evidenced by documentation stating that he had been admitted to the Virtuosi del Pantheon in 1666 [6]. Porpora’s admission into both prestigious institutions serves as evidence for the regard that Porpora’s work was held. While in Rome, Porpora likely came into contact with artists from Northern Europe, including Netherland artists Mathias Withoos and Otto Marseus van Schrieck, who were residing in Rome between 1652 and 1656 [7]. The influence of these Dutch artists is reflected in Porpora’s paintings of baroque flower bouquets, for which he is most well known. Porpora is known mostly as a painter of flowers, although he has created paintings depicting a range of subjects including marine fauna and game. In addition to bouquets, Porpora was also known for his dramatic paintings of sottoboschi (forest floors) including wildlife and flora. </div> <div class="exhibit-block layout-text"> <h2>Hares, a tortoise, a crocodile, frogs, quails, a hedgehog, butterflies, dragonflies and parakeets by a pool, with flowers, strawberries and a river in the distance</h2> Hares, a tortoise, a crocodile, frogs, quails, a hedgehog, butterflies, dragonflies and parakeets by a pool, with flowers, strawberries and a river in the distance is an oil on canvas painting created by Paolo Porpora and measuring 121.9 by 172.7 centimeters. This painting, in particular, is a copy of the work Porpora made in 1692 for Cardinal Flavio Chigi [8]. Porpora’s work serves as a helpful comparison for understanding the valuation of still life paintings in both Naples and Rome. Porpora’s work can be closely compared to the Neapolitan context since he was trained in the Recco workshop, and the valuation of his work can be seen directly in the Chigi commission of 1692. In the 1692 commission for Chigi, Porpora was paid 40 ducats for a 112 by 156 centimeter composition of crocodiles and a hare [9]. Porpora’s commissions in Rome prove valuable for further understanding the high economic valuation that still life painting had in Naples over Rome. </div> Publisher An entity responsible for making the resource available “Hares, a Tortoise, a Crocodile, Frogs, Quails, a Hedgehog, Butterflies, Dragonflies and Parakeets by a Pool, with Flowers, Strawberries and a River in the Distance.” Paolo Porpora (Naples 1617-1670/80 Rome or Naples). Christie's. <a href="https://www.christies.com/en/lot/lot-5721193">https://www.christies.com/en/lot/lot-5721193</a>. Date A point or period of time associated with an event in the lifecycle of the resource unknown Contributor An entity responsible for making contributions to the resource Paolo Porpora Rights Information about rights held in and over the resource Private collection. Format The file format, physical medium, or dimensions of the resource 121.9 x 172.7 cm Type The nature or genre of the resource oil on canvas Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Private collection. https://baroque.dahvc.org/fall-2021/files/original/Still-Life_Painting_in_Baroque_Italy_/Still_life_with_fish_and_kitchen_utensils/Elena.jpeg 16b42348c602595839b531034d29a7f4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Still-Life Painting in Baroque Italy Subject The topic of the resource Still-Life Painting in Baroque Italy Contributor An entity responsible for making contributions to the resource Kayla Marr Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data painting; oil on canvas Physical Dimensions The actual physical size of the original image 95.5 x 132 cm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Still life with fish and kitchen utensils Creator An entity primarily responsible for making the resource Elena Recco Contributor An entity responsible for making contributions to the resource Kayla Marr Source A related resource from which the described resource is derived Works Cited <ol> <li> Middione, Roberto. “Recco Family.” Oxford Art Online, 2003. <a href="https://doi.org/10.1093/gao/9781884446054.article.t071027">https://doi.org/10.1093/gao/9781884446054.article.t071027</a>. </li> <li> Causa, Raffaello. La Natura Morta a Napoli Nel Sei e Nel Settecento. 5. Vol. 5. Storia Di Napoli. Napoli, Italia: Società editrice storia di Napoli, 1969. </li> <li> Causa, Raffaello. La Natura Morta a Napoli Nel Sei e Nel Settecento. 5. Vol. 5. Storia Di Napoli. Napoli, Italia: Società editrice storia di Napoli, 1969. </li> <li> Causa, Raffaello. La Natura Morta a Napoli Nel Sei e Nel Settecento. 5. Vol. 5. Storia Di Napoli. Napoli, Italia: Società editrice storia di Napoli, 1969. </li> <li> Causa, Raffaello. La Natura Morta a Napoli Nel Sei e Nel Settecento. 5. Vol. 5. Storia Di Napoli. Napoli, Italia: Società editrice storia di Napoli, 1969. </li> <li> “MNAC - Museu Nacional D'Art De Catalunya.” Still life with fish and kitchen utensils | Museu Nacional d'Art de Catalunya. Museu Nacional d'Art de Catalunya. <a href="https://www.museunacional.cat/en/colleccio/still-life-fish-and-kitchen-utensils/elena-recco/005685-000">https://www.museunacional.cat/en/colleccio/still-life-fish-and-kitchen-utensils/elena-recco/005685-000</a>. </li> </ol> Description An account of the resource <div class="exhibit-block layout-text"> <h2>The Artist</h2> Elena Recco was one of two daughters to <a href="https://baroque.dahvc.org/fall-2021/exhibits/show/still-life-painting-in-baroque/giuseppe-recco" target="_blank" rel="noreferrer noopener">Giuseppe Recco</a>, and the year of her birth is unknown [1]. Elena’s sister Nicola Maria Recco was also a still life painter, with even less known about Nicola than Elena. Elena worked as a still life painter in the Recco family workshop under the training of her father Giuseppe. There is very little information about Elena’s life, but she is most well known for her still life paintings of marine life, similar to her father Giuseppe [2]. As stated by Raffaello Causa, there are only two works that are known for certain to be Elena’s, both of which are paintings that depict fish. Scholars state that a lightness of brushwork and a shining whiteness are characteristics that are often present in Elena’s paintings [3]. Similar to her father Giuseppe, Elena was invited to work as a painter for the Spanish court of King Charles II in Madrid starting from 1695 [4]. While in Madrid, Elena worked for the countess of Santo Stefano, who was the wife of the viceroy [5]. </div> <div class="exhibit-block layout-text"> <h2>Still life with fish and kitchen utensils</h2> Still life with fish and kitchen utensils is an oil on canvas painting created by Elena Recco between 1695 and 1705 [6]. The painting measures 95.5 by 132 centimeters and shows Elena’s skilled ability to render marine life. The foreground of the painting is filled up by an arrangement of marine animals including various fishes, lobster, crustacean, a stingray, and even two birds. Elena skillfully illustrates various surfaces, textures, and volumes of the creatures in the painting, with bright white highlights shining off the scales of the fish and the slick skin of the stingray. Arranged atop a stone slab, the animals are spread out amongst kitchen utensils including a copper pot. The setting of the painting appears to be a rocky coast along a seashore, with a forested shoreline in the background of the painting. Overall, the painting utilizes a muted color palette in combination with dim lighting of the general scene. </div> Publisher An entity responsible for making the resource available “MNAC - Museu Nacional D'Art De Catalunya.” Still life with fish and kitchen utensils | Museu Nacional d'Art de Catalunya. Museu Nacional d'Art de Catalunya. <a href="https://www.museunacional.cat/en/colleccio/still-life-fish-and-kitchen-utensils/elena-recco/005685-000">https://www.museunacional.cat/en/colleccio/still-life-fish-and-kitchen-utensils/elena-recco/005685-000</a>. Date A point or period of time associated with an event in the lifecycle of the resource circa 1695-1705 Rights Information about rights held in and over the resource Museu Nacional D'Art De Catalunya. Purchased, 1904. Inventory number: 005685-000. Format The file format, physical medium, or dimensions of the resource 95.5 x 132 cm Type The nature or genre of the resource oil on canvas Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Museu Nacional D'Art De Catalunya, Catalunya, Barcelona, Spain.