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Alessandro Gori, Still life with birds

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Alessandro Gori, Still life with birds
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Detailed Description

Alessandro Gori (news from 1754 to 1757) Still life with birds Oil on canvas, 36 x 47 cm - with frame 48 x 59 cm Expert opinion of Prof. Alberto Crispo The new painting depicts the booty of a hunter laid on a stone, and , above, figs and black grapes, all within a natural setting that lets you see the vegetation in the distance and a stretch of horizon that seems to turn to sunset. The elements of still life in the foreground are struck by a frontal light that reveals the softness and the subtle plots of the birds' plumage as well as the slightly unmade matter of figs and the vivid colors of the vine leaves. Still life can be referred to Alessandro Gori, as the comparisons with other examples of the Florentine artist reveal, in which the same way of composing the game in a complex ornithological plot can be seen, as well as the soft rendering of the plumage and the setting landscape, which recall the models of Bartolomeo Bimbi. Note the few works signed by the Florentine, such as the pendant game at auction in Paris (Pescheteau-Badin-Ferrien, 1991) and the canvas sold at Sotheby's in New York (1990), published by Bocchi (Naturaliter. New contributions to the still life in northern Italy and Tuscany between the seventeenth and eighteenth centuries, 1998, pages 508, figs 638-640). It is the layout, the line on the bill and the arrangement of the wild that are very similar to our canvas to attribute it to Alessandro Gori. There is little biographical information on Gori, documented in the registers of the Accademia del Disegno of Florence from 1754 to 1757. This information followed the earlier, more general hypothesis that it was a painter working in the mid-seventeenth century in Florence , prone to reproduce small game, but also fruit, as can be seen from the variously appeared paintings on the market: the pendant of Still life with partridge and other deposited birds and the canvas with Dead birds in a rocky landscape; finally the example is cited at the Bardini Museum in Florence entitled Cacciagione, which has similarities in the canonical architecture of the group of birds, the greater of which is always in the center with the folded head. There are chances that his education took place within the family, formed by painters active between the seventeenth and eighteenth centuries and known for the activity of Agnolo, Domenico, Giovanni and Giuseppe Gori in Florence. However, it cannot be ruled out that Gori also resided for some time in Rome, or in any case had acquired a certain fame, given that many of his paintings were found in the collection of Baron Fabrizio Verospi in his building in Via del Corso, as can be read in the inventory of 7 January 1749 which estimates the presence of sixteen fruit paintings and just two game, the specialty to which the author's name is now linked. To bring back to his catalog the many subjects of unrecognized fruit will be of great use, for the significant insert of figs and grapes, the still life in question, as Professor Crispo notes, which is reflected only in the aforementioned painting already at Sotheby's New York.

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Ars Antiqua srl Milano, Via Carlo Pisacane, 55 (Milano - Italy)

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