Follower of Luis Egido Meléndez; 19th century.

Follower of LUIS EGIDIO MELÉNDEZ (Naples, 1716 - Madrid, 1780); XIX century.
"Still lifes".
Oil on canvas (x4).
They possess frame of epoch.
Measurements: 39.5 x 31 cm; 49 x 40 cm (frame).
Set consists of four still lifes of the nineteenth century. In spite of the differences between them, the four works present a similar composition with the elements on a table, located in a frontal way with respect to the spectator, and imbued in a background of total darkness that focuses its presence providing greater volume and three-dimensionality to the objects.
The style of these paintings is largely reminiscent of the work of Luis Egidio Meléndez, a continuation of the brilliant Hispanic execution of the seventeenth century and author of magnificent still lifes, a genre that was his specialty, although he also worked on figure subjects. A Spanish painter born in Italy, he was the son of Francisco Antonio, the miniaturist, and nephew of Miguel Jacinto, the portraitist. He began his education in Madrid with his father and later followed the classes of the Preparatory Board of the Academy of San Fernando, being a student of Louis-Michel van Loo. The expulsion of his father from the Board determined his dismissal from academic studies, so the young Meléndez made a trip to Italy to continue his education. Upon his return to Spain, he initially worked as a miniaturist, but his preponderant role was developed in still life, becoming one of the most outstanding still life painters in the history of the genre, and undoubtedly the most brilliant of the Spanish 18th century. In fact, he is represented in the most prominent art galleries around the world, including the Prado Museum and the Louvre. Meléndez is an expert in the treatment of surfaces, showing an extraordinary ability to give an idea of the qualities of things: fruits, dead animals, ceramics, glass, cork, textiles, metals or stone. Although in some canvases he introduces a landscape background that brings them closer to the Neapolitan still life, most of his works are, in form and concept, similar to the one presented here, with several elements arranged in a clear structure on the surface of a table placed parallel to the lower edge of the painting, highlighted on a dark background that links directly with the Spanish masters of the XVII century. A master of expressive force and almost a magician of technique, Meléndez reflects, in his desire for accuracy, the principles of the enlightened world in his application to describe the elements in a way that can be understood as didactic.