Attributed to Astolfo Petrazzi

Attributed to ASTOLFO PETRAZZI (Siena, 1580-1653).
"Three little lovebirds arranging a floral center".
Oil on canvas.
Relined.
Cataloged in "The sense of pleasure. A collection of still life paintings" by John T. Spike. Ed. Skira, pg 68.
Measurements: 70 x 115 cm; 84 x 126 cm (frame).

Three little lovebirds with volumetric bodies, masterfully modeled by a baroque light, are seated on a stone parapet around a basket overflowing with flowers. The one in the middle brings a flower to each of his companions, inviting them to smell its fragrance. The plump little legs protrude deftly foreshortened, breaking the two-dimensionality of the painting. This work, attributed to Astolfo Petrazzi, is an excellent example of the melting pot of influences that marked the work of this Sienese painter, resulting in a style of his own: thus, the luminous naturalism of the Roman Baroque is masterfully combined with the decorative elegance of the Sienese Baroque, creating a delicate, sensual and vibrant work. The coexistence between the ornamental and the narrative characterized his style. Although during his stay in Rome he met the Caravaggists, he moved away from their raw dramatism, but was interested in their search for expressive verism. He was inclined, in part, to an ornamental sense, as can be seen in the detailed representation of the fragrant floral corollas. The plump bodies, on the other hand, are naturalistic anatomies. The result is captivating without being overbearing, thanks to a balanced composition and a bold use of hallmarks.

Astolfo Petrazzi was an Italian painter of the Baroque period, active mainly in his hometown of Siena, but also in Spoleto and Rome. He was a pupil mainly of Francesco Vanni, but also worked with Ventura Salimbeni and Pietro Sorri. In Rome, he received important commissions such as the story of the martyrdom of Sant'Eustachio in the church of the same name, as well as commissions for the church of San Gio. dei Fiorentini and the Capponi Chapel, where he did St. Mary Magdalene supported by angels. In San Biagio, he depicted the figure of the Virgin Mary with angels and saints. And, in the Chiesa Nuova, of the Padri della Congregazione dell'Oratorio di San Filippo Neri, he painted twenty large paintings with the image of Jesus Christ, the Virgin Mary and other saints (information collected by F. Baldinucci, "Notizie de' professori del disegno da Cimabue in qua", Milan 1812, pp. 299-302). Archival research indicates that Petrazzi's capitoline activity took place between 1618 and 1625. His great admirer and biographer, the physician Giulio Mancini, also outlines his Roman activity and his approach to naturalism, which he undoubtedly learned in Siena in the circle of Rutilio Manetti (1571-1639) and Francesco Rustici (1592-1626). Archival research and sources indicate that the painter also worked for private collecting, as can be deduced from a letter sent to Siena by Prince Mattias de' Medici on May 15, 1630, citing a painting with musical instruments commissioned by Giovan Carlo de' Medici, Mattias' brother, in which Petrazzi defines himself as superior to Manetti himself in this type of composition (Bisogni - Ciampolini 1987, p. 101). Consequently, it follows that the painter's production of still lifes was extraordinarily sought after. Selection of works in Siena: "Ascension", Museo dell'Opera del Duomo, Siena Cathedral; "The Christian Bishop of Mainz", Palazzo Pubblico, Siena; "Eternal Father and Saints", Basilica of San Francesco, Siena; "The Madonna and the Plague of Siena", San Clemente in the Basilica of Santa Maria dei Servi, Siena, among many others. Today, after Marco Ciampolini's research, the painter's physiognomy and character have finally been delineated, but certainly a large part of the still lifes destined for the collectors' market are still to be traced.