38
38
Francisco Barrera
ALLEGORY OF WINTER WITH SLAUGHTERED PIG, DRIED MEATS, FISH, POULTRY, A MEAT PASTRY, CERAMIC VESSELS, AND A BRAZIER
Estimate
80,000120,000
LOT SOLD. 87,500 USD
JUMP TO LOT
38
Francisco Barrera
ALLEGORY OF WINTER WITH SLAUGHTERED PIG, DRIED MEATS, FISH, POULTRY, A MEAT PASTRY, CERAMIC VESSELS, AND A BRAZIER
Estimate
80,000120,000
LOT SOLD. 87,500 USD
JUMP TO LOT

Details & Cataloguing

Master Paintings Evening Sale

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New York

Francisco Barrera
DOCUMENTED IN MADRID 1632 - 1657
ALLEGORY OF WINTER WITH SLAUGHTERED PIG, DRIED MEATS, FISH, POULTRY, A MEAT PASTRY, CERAMIC VESSELS, AND A BRAZIER
signed in the lower center, on a label placed on the bread dough: barrera
oil on canvas
40 by 61 in.; 101.6 by 154.9 cm.
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Provenance

Private collection, Belgium;
From whence acquired circa 1998.

Catalogue Note

Francisco Barrera, most likely a pupil of Juan van der Hamen (1596 - 1631), was relatively unknown after his death but enjoyed status in the Madrid art community during his career as a painter of still lifes and religious scenes. His most successful works were a series of four large still lifes representing the seasons, now in a private collection in Seville. Many elements from the Winter canvas of that series  are repeated here: the butchered pig with a bared tooth, the mortar and pestle, the stove over the burning brazier, and the sausages and ribs displayed behind the table. Furthermore, Barrera signed this painting in a way identical to his signature in other food still lifes: on the crust of the meat pie on the table, and with a curved line crossing over his name.

This impressive winter still life is likely one from a series representing the twelve months, of which only six have been identified thus far. February in the collection of the Museo del Prado, Madrid (fig. 1), has the same compositional formula: a stone ledge laid with naturalistic foodstuffs and a small window looking out onto a seasonal landscape in the background. Although the present painting lacks the inscribed month (likely December or January), as seen in the Prado’s painting and in other extant examples, the canvasses have virtually identical dimensions. It is not known whether these paintings were made as a single commission, but that seems unlikely given their large size. Barrera may have capitalized on the popularity of seasonal still lifes and expanded the series to sell to more patrons.

Barrera's winter still life provides a glimpse into the 17th-century Spanish traditions, allowing the viewer to imagine the hearty feast to come from the display. At the same time the many thematic contrasts call to mind broader moral themes often associated with still lifes. The surfeit of food represents wealth and temporary pleasure while the spare hut in the bitterly cold landscape seen through the window signifies poverty and worldly suffering. The promise of nourishment from the meat refers to life and vitality while the slaughtered hog forces the viewer to confront death. 

Barrera's familiar subject matter of a pig or hog contains myriad literary and historical references, both positive and negative, that require the viewer's interpretation. In this way, the early modern composition also resonates with contemporary art. Damien Hirst's This little piggy went to market (fig. 2) echoes and expands upon the directness of Barrera's life-size work of realism. Both of the confrontational works invite the viewer to reflect on the gruesomeness of life and finality of death.

Master Paintings Evening Sale

|
New York