Luisa Mortari did not include this, nor any of Strozzi’s accomplished still lifes, in her initial monograph of 1966, but later published the work in her 1995 volume, alongside a number of other still lifes by the artist. The diaphanous blooms in this painting best compare to those in the artist’s Still Life with Roses, now in a Lugano private collection.1 Perhaps more compelling though is a comparison to his Market Scene with Two Figures, in the Stanley Moss Collection, Riverdale-on-Hudson.2 While neither the present painting nor The Market Scene are conventional still lifes, they demonstrate Strozzi’s natural aptitude and interest for the genre, in addition to that of his better-known figural depictions. The face of the figure in the present painting is characteristic of Strozzi’s hand, and the soft modelling of flesh and round appealing eyes recall those of the female figure in The Market Scene.
As Mortari asserts, rather than a painting from Strozzi’s late phase in Genoa, this still-life is more likely a work from the artist’s Venetian period.3 The painting reprises elements of Pietro Paolo Bonzi’s Woman with Vegetables in the State Hermitage Museum, Saint Petersburgh.4 Bonzi’s painting acquired by the Hermitage from the Barbarigo collection in Venice, where it may indeed have been seen by Strozzi during his sojourn in the city from 1630-1644.
1. See L. Mortari under literature, p. 176, cat. no. 428, reproduced.
2. Ibid, p.177, cat. no. 432, plate X, reproduced.
3. Ibid, p.176.
4. S. Vsevolozhskaya, 13th to 18th Century Italian Painting From the Hermitage Museum, Leningrad 1981, cat. no. 128.
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