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Mario Dei Fiori
Italian painter , Penna Fermana 1603- Rome 1673
Italian painter. He was the first and most famous Roman painter to specialize in flower-pieces and one of only four still-life artists included by Leone Pascoli in his collection of artists' biographies. The early sources and old inventories attribute many flower paintings in distinguished Roman collections to the Caravaggesque painter Tommaso Salini, and since the 18th century Mario's name has been linked with his, and it has been assumed that he trained with Salini. This apprenticeship is difficult to document, yet a comparison of Mario's pictures with inventory descriptions of works by Salini confirms that Mario was influenced by his art. To the minute observation of various kinds of flowers, Mario added a refined sense of design and an interest in effects of light, still linked to Caravaggio in the use of a dark background.
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Theee Caper Flower,a Carnation,a Bindweed,and a Tulip
mk64
Oil on canvas
16 1/8x13in
Pitti,Poggio Imperiale Depository
Painting ID:: 28819
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Theee_Caper_Flower,a_Carnation,a_Bindweed,and_a_Tulip
mk64
Oil on canvas
16 1/8x13in
Pitti,Poggio Imperiale Depository
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Self-Portrait with a Servant and Flowers
mk64
Oil on canvas
53 9/16x85 1/16in
Uffizi,
Painting ID:: 28882
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Self-Portrait_with_a_Servant_and_Flowers
mk64
Oil on canvas
53 9/16x85 1/16in
Uffizi,
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Mario_Dei_Fiori
Italian painter , Penna Fermana 1603- Rome 1673
Italian painter. He was the first and most famous Roman painter to specialize in flower-pieces and one of only four still-life artists included by Leone Pascoli in his collection of artists' biographies. The early sources and old inventories attribute many flower paintings in distinguished Roman collections to the Caravaggesque painter Tommaso Salini, and since the 18th century Mario's name has been linked with his, and it has been assumed that he trained with Salini. This apprenticeship is difficult to document, yet a comparison of Mario's pictures with inventory descriptions of works by Salini confirms that Mario was influenced by his art. To the minute observation of various kinds of flowers, Mario added a refined sense of design and an interest in effects of light, still linked to Caravaggio in the use of a dark background.
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