Pair of paintings depicting two floral compositions. In one a combination of roses, anemones and multicolored narcissus, placed inside an ampoule, in the other always roses, anemones and other flowers, this time without support. In both cases, the compositions are placed outdoors, in a dark and rocky landscape, with a leaden and cloudy sky in the background. Great attention has been paid to both the naturalistic and the chromatic yield, especially the tonal contrast given by the contrast between the colored flowers and the dark background.
Dimensions: 63 x 50 cm
As Gianluca Bocchi reconstructs in his report, the rediscovery of the painter was possible thanks to the discovery of some canvases signed “FRANCESCA VICENZINA”, allowing the knowledge of an almost forgotten artist. This discovery allowed the deepening of the genealogy of the Volò family, a lineage of painters specialized in still lifes starting from their father Vincenzo. The best known of all is the younger Giuseppe, to whom, at least until before the successful discovery, all the known works that could be circumscribed to the production of the family workshop were ascribed. Certainly the stylistic tangencies are very close, but the recovery of the signed canvases made it possible to compare the pictorial corpus of the two brothers, being able to find even subtle stylistic and chromatic differences.
On the basis of these studies and continuous comparisons, Bocchi unequivocally attributes the canvases to Francesca Volò known as Francesca Vicenzina, promoter of a more liquid and loose painting, characterized by bright colors. Even the freest composition, in a sort of “studied compositional disorder” finds a perfect match with her signed canvases known to us.
– Natura morta – Stilleven, catalogo della mostra (29 ottobre – 17 dicembre, galleria Lampronti, Roma) a cura di Ferdinando Bologna, Roma, De Luca, p. 76;
– Vittorio Caprara, Opere di pittori lombardi in Canton Ticino: scambi culturali fra Lombardia e l’estero, in Artisti lombardi e centri di produzione italiani del Settecento. Studi in onore di Rossana Bossaglia, Bergamo, Bolis, 1995, pp. 112-114;
– Gianluca Bocchi, Ulisse Bocchi, Naturalier. Nuovi contributi alla natura morta in Italia settentrionale e Toscana tra XVII e XVIII secolo, Casalmaggiore, Galleria d’Orlane, 1998, pp. 63-65;
-Gianluca Bocchi, Vincenzo Volò pittore di nature morte: le origini borgognone e alcuni aspetti della sua vita milanese, in “Arte Lombarda”, 170-171, 2014, pp. 62-75;
– Gianluca Bocchi, Ricerche genealogiche e indagini storico-artistiche intorno a una famiglia di pittori milanesi del XVII secolo: i Vicenzini, in “Arte Lombarda”, 175, 2016, pp. 47-69.