(Milan? 1527–1593 Milan)
Flora
oil on slate, 64 x 47 cm, framed

Provenance:
Sotheby´s, London 27th October 2011, lot 82 (as Follower of Giuseppe Arcimboldo, 17th century);
Christie´s, London, 31st October 2013, lot 146 (as Manner of Giuseppe Arcimboldo).

A version of the present composition, described in contemporary poems and other publications and inscribed La Flora dell’Arcimboldo, is in a private collection in Spain. A second related painting, now identified as Flora Meretrix, belongs to the same collection and was recently exhibited in Madrid (see Giuseppe Arcimboldo. Two Paintings of Flora, Madrid, Fundación Juan March, 2014). Another version of the original Flora (private collection, Paris) was most recently exhibited in the Paris and Vienna exhibitions of 2007 and published by Görel Cavalli Björkman as a replica by the artist himself (Arcimboldo 1526-1593, Milan, Skira, 2007, cat. IV. 37). These paintings are related to Arcimboldo’s famed Vertumnus (Skokloster Castle, Sweden).

It should be noted that some versions or replicas of the composition are documented. There are contemporary indications that versions of the seasons and elements were owned by the prince of Liechtenstein, the king of Spain, the emperor, and the duke-elector of Saxony. Versions of the painting known as the Cook and Steward were owned by the king of Spain and the duke of Saxony, and most likely by the emperor. There still exist multiple versions of Arcimboldo’s studies of birds, animals, and flowers, which served as the basis for his paintings in addition to being used for investigations of natural history. These are in collections in Dresden, Bologna, and Vienna. While the number of paintings to be attributed to Arcimboldo needs to be treated with caution, a range of possibilities exist. Undisputed versions of some of the seasons and elements are in the Kunsthistorisches Museum, the Academy of San Fernando in Madrid, the Louvre, and on display in the Liechtenstein Museum. Paintings that have generally achieved acceptance are on display in the Denver Museum of Art and the De Menil Foundation.

It is moreover known that in circa 1590, when the paintings of Flora and Vertumnus were executed, Arcimboldo invented several other single-figure compositions (as distinct from his paintings of series of elements and seasons). These include ‘inverted’ paintings. One such painting, a representation of one head with features of the four seasons, which was mentioned by Comanini (in Il Figino) and was signed by the artist, has recently been acquired by the National Gallery of Art, Washington, D.C.

The present painting is not a copy or a replica of any known Arcimboldo. It treats the subject of Flora in a manner similar to those mentioned above, but varies from the prototype in the private collection in Spain. The painting under consideration represents a female torso composed out of flowers that faces to the viewer’s left. In contrast, the original Flora faces to the viewer’s right. Flora Meretrix faces more or less straight ahead. The present picture shows Flora wearing a high collar with a white-flower ‘ruff’, as opposed to the plunging neckline or the exposed chest of Flora Meretrix. Her lips are smaller, and her face is thinner than the other two versions. The differences are numerous and thus lead us to consider the present work as an original composition.

Certain material issues support a dating to the period close to Arcimboldo. The ground used for this painting is one that is associated with so-called ‘mannerist’ painters. Slate was used by artists from Daniele da Volterra onwards. Around 1600, painting on stone became popular at the imperial court, where Hans von Aachen made several such paintings, and it was picked up by artists associated with this court and others like Christoph Gertner, who painted on slate. Slate was used by many other artists from northern Italy, including Felice Brussasorci. It is therefore possible that this picture was painted by someone who knew Arcimboldo’s work in Milan, where his Flora was widely viewed. Finally, the technical report by Manfred Schreiner on his analysis of pigments also concludes by saying there are no objections as to the authenticity of the painting of the 16th century (available on request from the department).

Nevertheless, an attribution directly to Arcimboldo himself or to his workshop should be regarded with care. While Arcimboldo was an imaginative and inventive artist, who painted on canvas and on panel, there are no known paintings by him or his workshop that were executed on slate. Close comparison reveals a different handling of paint in the present painting which does not appear to have the fleshy qualities of pigments revealed in flowers painted by Arcimboldo himself. In the present painting flowers are executed with highlights or more pigment around the rims of petals, and a concentration of pigment in the interior, with the pigments thinned toward the petals. This creates in general a less three-dimensional appearance. This is not the appearance of works by Arcimboldo himself. The possibility remains that the present work was made by a contemporary of the artist. According to Giuseppe Lomazzo (see Idea, 1590), such imitations already existed by the 1580’s. Arcimboldo enjoyed a great reputation in Milan in the 1590’s once he returned home having gained great honors at the imperial court, and imitations were also made after the artist’s death; the present painting of Flora appears to be a contemporary imitation of the work of Giuseppe Arcimboldo by an artist, probably from North Italy.

We are grateful to Thomas DaCosta Kaufmann for his help in cataloguing the present painting.

Provenance:
Sotheby´s, London 27th October 2011, lot 82 (as Follower of Giuseppe Arcimboldo, 17th century);
Christie´s, London, 31st October 2013, lot 146 (as Manner of Giuseppe Arcimboldo).

A version of the present composition, described in contemporary poems and other publications and inscribed La Flora dell’Arcimboldo, is in a private collection in Spain. A second related painting, now identified as Flora Meretrix, belongs to the same collection and was recently exhibited in Madrid (see Giuseppe Arcimboldo. Two Paintings of Flora, Madrid, Fundación Juan March, 2014). Another version of the original Flora (private collection, Paris) was most recently exhibited in the Paris and Vienna exhibitions of 2007 and published by Görel Cavalli Björkman as a replica by the artist himself (Arcimboldo 1526-1593, Milan, Skira, 2007, cat. IV. 37). These paintings are related to Arcimboldo’s famed Vertumnus (Skokloster Castle, Sweden).

It should be noted that some versions or replicas of the composition are documented. There are contemporary indications that versions of the seasons and elements were owned by the prince of Liechtenstein, the king of Spain, the emperor, and the duke-elector of Saxony. Versions of painting known as the Cook and Steward were owned by the king of Spain and the duke of Saxony, and most likely by the emperor. There still exist multiple versions of Arcimboldo’s studies of birds, animals, and flowers, which served as the basis for his paintings in addition to being used for investigations of natural history. These are in collections in Dresden, Bologna, and Vienna. While the number of paintings to be attributed to Arcimboldo needs to be treated with caution, a range of possibilities exist. Undisputed versions of some of the seasons and elements are in the Kunsthistorisches Museum, the Academy of San Fernando in Madrid, the Louvre, and on display in the Liechtenstein Museum. Paintings that have generally achieved acceptance are on display in the Denver Museum of Art and the De Menil Foundation.

It is moreover known that in circa 1590, when the paintings of Flora and Vertumnus were executed, Arcimboldo invented several other single-figure compositions (as distinct from his paintings of series of elements and seasons). These include ‘inverted’ paintings. One such painting, a representation of one head with features of the four seasons, which was mentioned by Comanini (in Il Figino) and was signed by the artist, has recently been acquired by the National Gallery of Art, Washington, D.C.

The present painting is not a copy or a replica of any known Arcimboldo. It treats the subject of Flora in a manner similar to those mentioned above, but varies from the prototype in the private collection in Spain. The painting under consideration represents a female torso composed out of flowers that faces to the viewer’s left. In contrast, the original Flora faces to the viewer’s right. Flora Meretrix faces more or less straight ahead. The present picture shows Flora wearing a high collar with a white-flower ‘ruff’, as opposed to the plunging neckline or the exposed chest of Flora Meretrix. Her lips are smaller, and her face is thinner than the other two versions. The differences are numerous and thus lead us to remember the present work as an original composition.

Certain material issues support a dating to the period close to Arcimboldo. The ground used for this painting is one that is associated with so-called ‘mannerist’ painters. Slate was used by artists from Daniele da Volterra onwards. Around 1600, painting on stone became popular at the imperial court, where Hans von Aachen made several such paintings, and it was picked up by artists associated with this court and others like Christoph Gertner, who painted on slate. Slate was used by many other artists from northern Italy, including Felice Brussasorci. It is therefore possible that this picture was painted by someone who knew Arcimboldo’s work in Milan, where his Flora was widely viewed. Finally, the technical report by Manfred Schreiner on his analysis of pigments also concludes by saying there are no objections as to the authenticity of the painting of the 16th century (available on request from the department).

Nevertheless, an attribution directly to Arcimboldo himself or to his workshop should be regarded with care. While Arcimboldo was an imaginative and inventive artist, who painted on canvas and on panel, there are no known paintings by him or his workshop that were executed on slate. Close comparison reveals a different handling of paint in the present painting which does not appear to have the fleshy qualities of pigments revealed in flowers painted by Arcimboldo himself. In the present painting flowers are executed with highlights or more pigment around the rims of petals, and a concentration of pigment in the interior, with the pigments thinned toward the petals. This creates in general a less three-dimensional appearance. This is not the appearance of works by Arcimboldo himself. The possibility remains that the present work was made by a contemporary of the artist. According to Giuseppe Lomazzo (see Idea, 1590), such imitations already existed by the 1850’s. Arcimboldo enjoyed a great reputation in Milan in the 1590’s once he returned home having gained great honors at the imperial court, and imitations were also made after the artist’s death; the present painting of Flora appears to be a contemporary imitation of the work of Giuseppe Arcimboldo by an artist, probably from North Italy.

We are grateful to Thomas DaCosta Kaufmann for his help in cataloguing the present painting.