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VELIKOST

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VELIKE/MALE
STIL
Permanent Collection

1600–1700

Three Bouquets of Flowers
1st Half of 17th Century, oil, canvas, 113 x 164 cm

NG S 3043, National Gallery of Slovenia, Ljubljana
The composition is divided into two unequal parts. On the left a metal(?) vase with a bouquet stands on a stone at the top of some steps. It is decorated with stylised leaves. On a large table at the right covered with a tablecloth there are a basket and a spherical glass vase on a small pedestal. Both contain various flowers, while insects and birds – dragonflies, butterflies, goldfinches – fly around.

The painting, which due to its state of preservation is much changed, has an unusual, unbalanced and asymmetrical composition. The type of bouquets, the shapes of the flowers, the presence of insects and birds, all suggest that this still life follows Italian models from the first quarter of the 17th century. However, all the indications are that the painting is not Italian, but Spanish, although it is difficult to mention any particular name. In many ways – but on a very summary level – it is reminiscent of the still lifes of Juan van der Hamen y Léon (Madrid 1596 – Madrid 1631), but its Italian sources cannot be concealed. A painting which appears to be by the same hand, Still Life with Two Vases of Flowers and a Melon, 150 x 70 cm, was on sale as Spanish school of the 17th century at an auction in the Dorotheum in Vienna on 19–20 October 1993, No. 6. Even closer to our painting are two examples of Still Life with Vases of Flowers, 118 x 174 cm, both of which were once offered for sale by the antiques dealer Francesco Romano in Rome.

Preservation: The priming is reddish bolus. In some places the paint has been badly scraped off and the colour has considerably darkened. In some parts the tones have changed.
Restored: 1987, Kemal Selmanović. New canvas lining, new stretcher and new protective varnish.
Provenance: The engineer Viljem Killer purchased the painting around 1937 from an antiquarian in Zagreb; his widow, Mrs. Dita Killer lent it for exhibition from 1989 to 1995; purchased by the Narodna galerija on 11 Aug. 1995; the purchase was funded by a donation from the American-Slovene company Amway Slovenija on 6 Nov. 1995.
Exhibition: 1989, Ljubljana, No. 2.
Lit.: Zeri and Rozman 1989, p. 110, Cat. and Fig. No. 2.

From Mannerism to Baroque
Although imported early-Baroque works prevailed in this period and those by itinerant artists, the 17th century paved the way for the future. The political circumstances in the region were relatively stabilized in spite of the Thirty Year War and the patronage gradually grew stronger. The arrival of the Jesuits in Ljubljana, the activity of the polymath Johann Weichard Valvasor, particularly his graphic workshop at Bogenšperk/Wagensperg Castle, and the foundation of the Academia operosorum at the end of the century were the key events of the time. 

Characteristic of sculptural production on the Slovenian territory in the 17th century were the so-called “golden altars”. As a rule, these were gilded and polychrome carved wooden retables with rich ornamentation, first with crustaceous patterns which turned into vine and grapes that covered architectural framework until the achantus foliage took over and obliterated architectural structure completely. The making of golden altars included several branches of fine arts: prints, carving, gilding, painting. Religious painting of the first half of the century still contains Mannerist elements; in the second half also secular motifs became more numerous, particularly genre scenes and aristocratic portraits. The artworks mainly echo northern early-Baroque influences. 

Noteworthy among the newcomers who settled in Carniola with their workshops were the painter and gilder Hans Georg Geiger von Geigerfeld in the mid-century, who had moved to Carniola from the region of the Central Alps, and the Fleming Almanach in the third quarter of the 17th century, known only by his nickname, who worked here only for a few years. The extraordinary productivity and skills of the latter are evidenced by his rare surviving works, mentions in Valvasor’s books, and aristocratic probate inventories.