"Still Life With Three Love Flowers, Franz Werner Von Tamm (1658-1724), Attributed To"Attributed to Franz Werner Von Tamm known as Monsù Daparait (1658-1724)
Still life with vase, garland of flowers and three loves
Roman school of the second half of the sixteenth century
Oil on canvas, 122 x 97 cm (framed, see details)
This magnificent, large-scale canvas depicting a sumptuous floral composition supported by floating loves goes back, both in style and composition, to an active master in Baroque Rome in the 17th century. The work has an old attribution to the master Franz Werner von Tamm called Monsù Daparait (1658-1724), which we use with caution, waiting for a more detailed study.
German artist with a flourishing career in Rome (between 1680 and 1695), Von Tamm is the author of several paintings of a subject similar to ours, with floral compositions, still lifes with festoons and vases filled with flowers , often animated by putti figures, sometimes made in collaboration with Italian artists such as Giacinto Brandi, Carlo Maratti and Giambattista Gaulli 'Baciccio'.
Franz Werner von Tamm was certainly one of the most diverse personalities of the large number of Italian and foreign naturamortists active in Rome. Here he also became famous for having replaced Karel von Vogelaer in favor of Maratti, as a collaborator of a successful series of paintings depicting "Putti with garlands of flowers", commissioned by the Marquis Pallavicini for his collection.
Nevertheless, reference should be made to the address traced by Abraham Brueghel, as well as the close links with the studios of Mario Nuzzi dei Fiori and Giovanni Stanchi, two of the most important Italian florists of the seventeenth century, especially around to 1670 / 1680, when their aesthetic is very close to Baroque.
The intense and brilliant color palette of our refined floral composition closely resembles Nuzzi's stylistic signature, whose many exercises on the theme are characterized by a great balance and careful resolution of three-dimensional effects.
The two putti obviously aim at the Roman environment of the seventeenth century, presumably made from another hand and, as we had already supposed, referred to an artist close to Carlo Maratta, or even in relation with Guglielmo Cortese, painter always active in the world. 'Urbe in the second half of the seventeenth century.
Work accompanied by a certificate of authenticity.
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