Spanish school PEDRO DE CAMPROBÍN PASSANO (Almagro, 1605 - Seville, July 22, 1674); second third of the XVII century. "Vases". Oil on canvas.

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Jul 14, 2021

Set Reminder 2021-07-14 06:30:00 2021-07-14 06:30:00 America/New_York Bidsquare Bidsquare : OLD MASTERS https://www.bidsquare.com/auctions/setdart-auction-house/old-masters-7202
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• Lot Description
  Spanish school PEDRO DE CAMPROBÍN PASSANO (Almagro, 1605 - Seville, July 22, 1674); second third of the XVII century. "Vases". Oil on canvas. Presents tastings attention pedro campan Size: 96 x 69,5 cm. Pair of baroque vases following the same aesthetic composition, arranged on a bronze vase of baroque classicist type raised on a stone pedestal, the flowers vary, although in both canvases the same types of flower are repeated and also the chromatism is similar, dominating the reds and pinks, ochres and whites on the green of the leaves. They are clearly baroque type flowers, very open and exuberant, to the point that they may seem to be about to wilt, an example of this are the flowers that appear on the pedestal, which have fallen from the main bouquet that makes up both vases. Both works stand out for the quality and subtlety of their forms, which when seen from a distance form super-positioned planes, while from a distance the flowers seem to be suspended in the neutral background. Configuring the space through the small branches that are placed further in the background. It is worth mentioning the presence of butterflies in the two paintings, which make up the couple. These represent a specific moment, bringing temporality to the work. In addition, it could be an aesthetic resource of moralizing character, since it speaks to us of a moment that is leaving, the temporality of life, the tempus fugit. These pieces are related to the painting of Pedro Camprobin, an example of this is one of the bronze vases that is very similar to the one in the work "Florero y recipiente de Cristal", from 1663, which is in the Prado Museum in Madrid, and which in turn, like this piece, pairs with another vase that is also part of the collection of the Prado Museum. Pedro Camprobin, whose father was a silversmith and a descendant of the Genoese painters the Pelori, began working at the age of fourteen in the workshop of Luis Tristán. In 1630 he became a member of the painters' guild in Seville, although he had trained artistically in Madrid, with Juan Van der Harmer, from whom he received a great aesthetic influence, which is especially evident in his early works. Camprobin participated in the creation of the Academy of Drawing in Seville, together with Murillo and Valdés Leal. His work is characterized by the austerity of the compositions and a great elegance, specialized in floral representations, although he worked on an endless number of still lifes. In recent years the study of his work has been enriched through several publications. His works are in important collections of international character highlighting the pieces collected in the Prado Museum, and the Meadows Museum in Dallas, among others.
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