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CAMPI, Vincenzo /
ARTISTS before 1650/ MAIN ART
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film and food
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b. 1536, Cremona, d. 1591,
Cremona
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literature and food
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The Campi was a family of Italian painters
in Cremona in the 16th century. In the north of Italy, where they had
the splendid example of the Venetians and some knowledge of Flemish and
German art, the contrasts of light and shade could express the Mannerist
feeling perfectly, as in the work of the Campi at Cremona.
The head of the family was Galeazzo Campi (1477-1536), a pupil of
Boccaccio Boccaccini. His close contacts with Tommaso Aleni are assumed,
owing to stylistic alliance. In his landscapes influences from Giovanni
Bellini and Perugino can be observed. He was the father of Giulio,
Antonio and Vincenzo.
Vincenzo Campi (1536-1591) trained under his brother Giulio. He painted
mainly saints and portraits as well as genre-like still-lifes, like the
two fruit and fishmongers’ paintings at the Brera, Milan. Both show that
he was influenced by Pieter Aertsen.
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music and food
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photography and food |
A tale of two pilgrims |
Italian food
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The Brothers Campi: Images and
Devotion…-amazon fr
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The Fruit Seller
c. 1580
Oil on canvas, 145 x 215 cm
Pinacoteca di Brera, Milan |
The Brothers Campi: Images and
Devotion:…-amazon
UK |
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The intensification of agriculture from the
early 16th century onwards was accompanied by the promotion of the
botanical sciences. These new insights then influenced the ‘pater
familias’ literature, which also included advice on the improvement of
fruit farming. It is worth noting that early market, kitchen and pantry
paintings (e.g. by Joachim Beuckelaer, Frans Snyders and Adriaen van
Utrecht) displayed not only vegetables piled up in baskets, but also
fruits of all kinds, bulging out over the edge of the plate. Fruit
included everything that grew on trees, such as apples, pears, nuts,
cherries, plums, peaches, apricots, quinces, chestnuts, etc., as well as
shrub fruit, such as blackberries, raspberries and currants.
Fruit was always one of the last courses in a banquet. In the cuisine of
the landed gentry and the merchant classes, great emphasis was therefore
placed o the more refined fruits: wild fruit from the woods, fields and
meadows were considered inferior, as they were smaller and had less
taste. Every larger household therefore had an orchard that was laid out
and cultivated according to the latest knowledge, where summer and
winter fruits were grown that had to be frost-resistant and suitable for
longer storage. Similar to nowadays, people valued firmness and a rich,
juicy consistency, brought about by hybridization and special methods of
cultivation.
In earlier still-lifes the different fruits were still neatly separated,
and depicted either as market products or freshly harvested and straight
from the trees or shrubs, as in Vincenzo Campi’s paintings. Later, the
motif of the market or pantry with its emphasis on variety was
increasingly given up in favour of isolated fruit baskets where
different fruits were put together like flower arrangements. One of the
first example is Caravaggio’s Fruit Basket from about 1596. |
artists before 1650 bookshop (UK)
Hunger
as Divine: Dante’s Divine Comedy |
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Chicken Vendors
1580s
Oil on canvas
Pinacoteca di Brera, Milan |
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The painting shows the influence of Pieter
Aertsen. |
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Kitchen
1580s Oil on canvas Pinacoteca di
Brera,
Milan
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Occasionally it is hard to distinguish market scenes from the genre of
early kitchen scenes which also tended to display still-life features.
Similar to the market stall, they often show tables and sideboards with
clusters of baskets and bowls full of fruit and vegetables.
Yet despite structural similarities there are still differences with
regard to the subject. While market stalls illustrate the
commercialisation of agriculture and the principle of agro-economic
production, kitchen and pantry paintings are dominated by the aspect of
satisfying the needs of domestic economy, usually in a feudal or
re-feudalized upper middle class household. Leaving aside the fact that
these paintings grossly exaggerate the wealth of the day, the ostentatious
display of the fruit of the earth proves that the principles of the
‘paterfamilias’ literature were observed even in the non-market-oriented
system of domestic self-supply. These principles demanded an improved
utilisation of the soil by extending the agricultural acreage and
intensifying agriculture, as well as by improving crop sequences and
fertilization and, in part, by transforming ploughed fields into gardens.
The subject of food supply was particularly
interest to those who commissioned and bought these paintings. The
production and preparation of food were the
most important economic problems of society, which explains their central
position in contemporary iconography.
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