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Giambattista Piazzetta - Judith and Holofernes
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Christian Berentz - The Elegant Snack
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Corsini Throne
fullscreen
Orazio Gentileschi - Madonna and Child
fullscreen
Guido Reni - Salome holding the head of John the Baptist
fullscreen
Jusepe de Ribera - Venus and Adonis
fullscreen
Peter Paul Rubens - Saint Sebastian Healed by Angels
fullscreen
Luca Giordano - Christ among the Doctors
fullscreen
Michelangelo Merisi, detto Caravaggio - Saint John the Baptist
fullscreen
Salvator Rosa - The Torture of Prometheus
fullscreen
Jusepe de Ribera - The Denial of Saint Peter
fullscreen
Bartolomé Esteban Murillo - The nursing Madonna
fullscreen
Beato Angelico - Triptych with Ascension, Last Judgment, Pentecost
fullscreen
Rosalba Carriera - Allegory of the Four Elements - Water, Air, Earth and Fire
fullscreen
Hans Hoffmann - The hare
fullscreen
Giovanni da Milano - Madonna and Child with Saints
fullscreen
Antoon van Dyck - Madonna of the Straw
fullscreen
Mattia Preti - The Tribute Money
fullscreen
Jacopo Bassano - Adoration of the Shepherds
Giambattista Piazzetta - Judith and Holofernes
Christian Berentz - The Elegant Snack
Corsini Throne
Orazio Gentileschi - Madonna and Child
Guido Reni - Salome holding the head of John the Baptist
Jusepe de Ribera - Venus and Adonis
Peter Paul Rubens - Saint Sebastian Healed by Angels
Luca Giordano - Christ among the Doctors
Michelangelo Merisi, detto Caravaggio - Saint John the Baptist
Salvator Rosa - The Torture of Prometheus
Jusepe de Ribera - The Denial of Saint Peter
Bartolomé Esteban Murillo - The nursing Madonna
Beato Angelico - Triptych with Ascension, Last Judgment, Pentecost
Rosalba Carriera - Allegory of the Four Elements - Water, Air, Earth and Fire
Hans Hoffmann - The hare
Giovanni da Milano - Madonna and Child with Saints
Antoon van Dyck - Madonna of the Straw
Mattia Preti - The Tribute Money
Jacopo Bassano - Adoration of the Shepherds

Other works on display

Description

Berentz was a German painter who spent most of his lifetime in Rome. When he painted An Elegant Snack, still life had already been raised to the dignity of an independent pictorial genre for a century. This painting takes the form of a contrast between the frugality of the meal and the refinement of the objects, in an elegant setting and amid the apparent disorder of some of the details: the raised corner of the tablecloth uncovers the wood beneath and reveals the half-open drawer, the orange cut in half and the loaf of bread which seems to be precariously balanced. The elegant goblets, silver cutlery and gold snuffbox suggest the social status of the people for whom the food is served. The lower right-hand corner of the table points towards the observer and the non-frontality of the scene heightens the impression that this is an improvised meal. Still life, especially from the seventeenth-century on, in its constructed realism, was not exempt from symbolic meanings connected with the frailty of matter and the transience of time. The painting is initialed and dated on the inner left-hand corner of the tablecloth (C.B. 1717).

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