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Corsini Gallery verified

Rome, Lazio, Italy closed Visit museumarrow_right_alt

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Michelangelo Merisi, detto Caravaggio - St. John Baptist
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Giambattista Piazzetta - Judith and Holofernes
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Orazio Gentileschi - Madonna with child
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Peter Paul Rubens - San Sebastiano cured by the angels
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Antoon van Dyck - Madonna of the straw
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Guido Reni - Salome with the head of the Baptist
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Christian Berentz - The elegant snack
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Corsini throne
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Jusepe de Ribera - Venus reaches dying Adonis
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Luca Giordano - Dispute of Jesus among the doctors
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Salvator Rosa - The torture of Prometheus
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Jusepe de Ribera - Denial of Peter
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Bartolomé Esteban Murillo - Madonna of the milk
fullscreen
Beato Angelico - Triptych with Ascension, Last Judgment, Pentecost
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Rosalba Carriera - Allegory of the four elements - Air, Water, Earth, Fire
fullscreen
Hans Hoffmann - The hare
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Giovanni da Milano - Polyptych with Madonna and Child with Saints
fullscreen
Mattia Preti - The tribute of the currency
fullscreen
Jacopo Bassano - Adoration of the shepherds
Michelangelo Merisi, detto Caravaggio - St. John Baptist
Giambattista Piazzetta - Judith and Holofernes
Orazio Gentileschi - Madonna with child
Peter Paul Rubens - San Sebastiano cured by the angels
Antoon van Dyck - Madonna of the straw
Guido Reni - Salome with the head of the Baptist
Christian Berentz - The elegant snack
Corsini throne
Jusepe de Ribera - Venus reaches dying Adonis
Luca Giordano - Dispute of Jesus among the doctors
Salvator Rosa - The torture of Prometheus
Jusepe de Ribera - Denial of Peter
Bartolomé Esteban Murillo - Madonna of the milk
Beato Angelico - Triptych with Ascension, Last Judgment, Pentecost
Rosalba Carriera - Allegory of the four elements - Air, Water, Earth, Fire
Hans Hoffmann - The hare
Giovanni da Milano - Polyptych with Madonna and Child with Saints
Mattia Preti - The tribute of the currency
Jacopo Bassano - Adoration of the shepherds

Other works on display

Description

When Berentz, a German painter who spends most of his life in Rome, paints The Elegant Snack, still life took on the dignity of an autonomous pictorial genre for a century. The peculiarity of this painting is the contrast between the frugality of the meal and the preciousness of the objects, between the refinement of the context and the apparent disorder of some details: the raised edge of the tablecloth that reveals the underlying wood and reveals the half-open drawer, the orange caps, the bread almost poised. The sophisticated goblets, the silver cutlery, the golden snuffbox indicate the social level of the diners. The lower right corner of the table points towards the observer and the non-frontality of the scene increases the sense of provisionality of the vision. Still lifes, especially from the seventeenth century onwards, in their built realism, are not exempt from symbolic meanings, which have to do with the fragility of matter and the transience of time. The painting is signed and dated in the inner left corner of the tablecloth (C.B. 1717).

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