(Valetta? c. 1611–1654 Rome)
A still life with fruit on a carpet,
oil on canvas, unlined, 135.5 x 98.6 cm, framed

Provenance:
Private European collection

We are grateful to Ludovica Trezzani for confirming the attribution of the present painting on the basis of a high resolution digital photograph.

We are also grateful to Gianluca Bocchi for independently confirming attribution of the present painting on the basis of a high resolution digital photograph. It will be included in a forthcoming publication edited by Gianluca Bocchi and Keith Sciberras.

This previously unknown, and as yet unpublished, still life, which is unlined, is one of the finest works by Francesco Noletti, who was active in Rome from 1640 to 1654.

Despite his importance in the development of the genre of still life painting in 17th century Rome, the artist´s true identity has been lost and confused over the years. Until recently Francesco Noletti was known as Francesco Maltese because of his place of origin and it is by this name by which he is remembered in sources since the late 17th century (see K. Sciberras and G. and U. Bocchi (ed.)), Francesco Noletti detto Il Maltese (Valletta? 1611 ca.-Roma 1654), in: G. and U. Bocchi (ed.), Pittori di Natura morta a Roma. Artisti italiani 1630-1750, Viadana 2005, pp. 357-397).

Francesco Noletti has also been known more recently as Francesco Fieravino due to confusion with the artist Benedetto Fioravanti, who was active in Rome at the same time (see L. Trezzani/L. Laureati, in: F. Zeri (ed.), La natura morta in Italia, p. 768). It has only recently become possible to rediscover his true identity due to the rediscovery of an anonymous portrait of Francesco Noletti in the Foundation for International Studies in Valletta.

The corpus of this painter has still partly to be reconstructed, but the extraordinary quality of the still-life paintings attributed to him, such as the present painting, justifies the success he achieved in Rome; indeed, he collaborated with Andrea Sacchi and also received international commissions. His works were greatly appreciated and a still life with a carpet was in the celebrated collection of Archduke Leopold Wilhelm of Austria, Governor of the Spanish Netherlands.

In this splendid Still Life we see the naturalistic aim typical of this kind of work in early post-Caravaggesque works: particularly the meticulous rendering of the fruit basket and fringes of the rug with its heavy folds, accentuated by strong chiaroscuro contrasts. In addition to this careful analysis of reality, the artist adds a strong illusionist vein, with an almost tactile imitation of the carpet fabric effected by skillful rendering of the material which seems to emerge from the painted surface, as well as the virtuoso red damask cloth, framing and acting as a backdrop to the elements in the foreground, reminiscent of Caravaggio’s own work.

The genre of still life painting flourished in Rome in the wake of Caravaggio’s death, focusing initially on the depiction of flowers, fruit and vegetables and later expanding the range of subjects to include musical instruments, weapons, game and other items. The genre had such extraordinary success that it led many artists to specialise in this type of painting and Francesco Noletti seems to have been one of the driving forces in Rome using of an iconography dominated by rugs, textiles and musical instruments. His work exerted influence even outside the city, as may be seen in the work of the Neapolitan Giuseppe Recco and Meiffren Conte from France.

The present painting is closely related to the Still life with carpet and sugared fruit in The Hermitage Museum, Saint Petersburg (see G. and U. Bocchi, Francesco Noletti detto Il Maltese, in: G. and U. Bocchi (ed.), Pittori di Natura morta a Roma. Artisti italiani 1630-1750, Viadana 2005, p. 376, fig FN.6, see fig. 1.).

Additional image:
Fig. 1. Francesco Noletti, called il Maltese, Still Life with an Oriental Carpet, oil on canvas, 97 x 132 cm, inv. GE-2314, The State Hermitage Museum, St. Petersburg
© The State Hermitage Museum /photo by Vladimir Terebenin

Provenance:
Private European collection

We are grateful to Ludovica Trezzani for confirming the attribution of the present painting on the basis of a high resolution digital photograph.

We are also grateful to Gianluca Bocchi for independently confirming attribution of the present painting on the basis of a high resolution digital photograph. It will be included in a forthcoming publication edited by Gianluca Bocchi and Keith Sciberras.

This previously unknown, and as yet unpublished, still life, which is unlined, is one of the finest works by Francesco Noletti, who was active in Rome from 1640 to 1654.

Despite his importance in the development of the genre of still life painting in 17th century Rome, the artist´s true identity has been lost and confused over the years. Until recently Francesco Noletti was known as Francesco Maltese because of his place of origin and it is by this name by which he is remembered in sources since the late 17th century (see G. and U. Bocchi, Francesco Noletti detto Il Maltese (Valletta? 1611 ca.-Roma 1654), in: G. and U. Bocchi (ed.), Pittori di Natura morta a Roma. Artisti italiani 1630-1750, Viadana 2005, pp. 357-397).

Francesco Noletti has also been known more recently as Francesco Fieravino due to confusion with the artist Benedetto Fioravanti, who was active in Rome at the same time (see L. Trezzani/L. Laureati, in: F. Zeri (ed.), La natura morta in Italia, p. 768). It has only recently become possible to rediscover his true identity due to the rediscovery of an anonymous portrait of Francesco Noletti in the Foundation for International Studies in Valletta.

The corpus of this painter has still partly to be reconstructed, but the extraordinary quality of the still-life paintings attributed to him, such as the present painting, justifies the success he achieved in Rome; indeed, he collaborated with Andrea Sacchi and also received international commissions. His works were greatly appreciated and a still life with a carpet was in the celebrated collection of Archduke Leopold Wilhelm of Austria, Governor of the Spanish Netherlands.

In this splendid Still Life we see the naturalistic aim typical of this kind of work in early post-Caravaggesque works: particularly the meticulous rendering of the fruit basket and fringes of the rug with its heavy folds, accentuated by strong chiaroscuro contrasts. In addition to this careful analysis of reality, the artist adds a strong illusionist vein, with an almost tactile imitation of the carpet fabric effected by skillful rendering of the material which seems to emerge from the painted surface, as well as the virtuoso red damask cloth, framing and acting as a backdrop to the elements in the foreground, reminiscent of Caravaggio’s own work.

The genre of still life painting flourished in Rome in the wake of Caravaggio’s death, focusing initially on the depiction of flowers, fruit and vegetables and later expanding the range of subjects to include musical instruments, weapons, game and other items. The genre had such extraordinary success that it led many artists to specialise in this type of painting and Francesco Noletti seems to have been one of the driving forces in Rome using of an iconography dominated by rugs, textiles and musical instruments. His work exerted influence even outside the city, as may be seen in the work of the Neapolitan Giuseppe Recco and Meiffren Conte from France.

The present painting is closely related to the Still life with carpet and sugared fruit in The Hermitage Museum, Saint Petersburg (see G. and U. Bocchi, Francesco Noletti detto Il Maltese, in: G. and U. Bocchi (ed.), Pittori di Natura morta a Roma. Artisti italiani 1630-1750, Viadana 2005, p. 376, fig FN.6.).