Beskrivning: Se beskrivning i engelska versionen

Catalogue raisonné: Description in Italian Paintings: Three Centuries of Collecting, 
Nationalmuseum, Stockholm, 2015, cat.no. 10:

FORMER INV. NOS.: 441 (M. 1796–97); 462 (F. 1798); 271 (M. 1804);
KM 505.

TECHNICAL NOTES: The support is a single piece of coarse,
densely-woven, plain weave linen fabric. It has been glue-lined
in Sweden and mounted on a non-original stretcher. The tacking
edges are cropped. The paint-layer is slightly abraded, there are
some old retouches. The painting is in fair condition. Documented
restorations: Before 1816: Restored at Royal Academy of Fine Arts;
1958: See NM 34; 1987: Varnish; 1994: Retouching. Regeneration
of varnish.

PROVENANCE: Martelli 1804.

EXHIBITED: ÄTbART, Nationalmuseum, Stockholm, 2000–01; ÄTbART
(NM touring exhibition), Jönköpings läns museum, Jönköping,
2001; Länsmuseet Västernorrland, Härnösand, 2001; Hallands länsmuseer,
Museet i Varberg, Varberg, 2001; Rydals museum, Rydal,
2001; Länsmuseet Gävleborg, Gävle, 2001; Jämtlands läns museum,
Östersund, 2001–02; Smålands museum, Växjö, 2002; Blekinge
museum, Karlskrona, 2002; Nordens hus, Reykjavik, 2002;
Hans Gedda & Mörkrets Mästare, Kungliga Akademien för de fria
Konsterna, Stockholm, 2013–14.

BIBLIOGRAPHY: NM Cat. 1867, p. 3 (as Bonzi); Sander 1872–76,
p. 117, no. 271 (as Bonzi); Göthe 1887, p. 22 (as Bonzi); NM Cat. 1941,
p. 7 (as Bonzi); NM Cat. 1958, p. 20 (as Bonzi); NM Cat. 1990, p. 40
(as Bonzi).

BIBLIOGRAPHY: NM Cat. 1867, p. 3 (as Bonzi); Sander 1872–76, p.
117, no. 271 (as Bonzi); Göthe 1887, p. 22 (as Bonzi); NM Cat. 1941,
p. 7 (as Bonzi); NM Cat. 1958, p. 20 (as Bonzi); 
NM Cat. 1990, p. 40 (as Bonzi).

This painting is the pendant to NM 34 (cat. no. 9). 
Perhaps even more so than its pendant, it adheres to 
a typical Bonzi composition, consisting of different 
planes in the front part of the picture which enable the 
artist to fill the entire surface of the canvas with fruit.¹
The highlighted edge of the first level, a ledge, is visible
along the bottom of the canvas. Along the ledge, fruit is 
carefully laid out: the shiny pears and apples contrasting
with the rough leaves of the corn and the craggy surface 
of the melon, which is itself sharply contrasted with its 
soft and pulpy exposed flesh in the opened fruit to the left. 
An old, dented pot, seemingly of pewter, expertly rendered
in meticulous detail to achieve the exact texture of the
metal, is placed casually on the right-hand side with 
its spout pointing to the centre. Twigs and leaves of apples
and pears have been preserved as decoration in the 
background of the first ledge, and in the pot itself different 
kinds of corn and barley have been placed; dry and brittle,
in contrast to the robust surface of the pot and the shining
skins of the fruit.

On the upper ledge only fruit and vines are displayed, 
mainly placed together in a basket, which also contains
the leaves, stems and twigs of the vine and the apples. 
Bonzi manages to render the mostly obscured wickerwork 
of the basket in great detail, once again conveying a 
sense of realism through his sensitivity to surface textures.
As was his wont, the grapes are rendered with great 
realism, especially the shiny oblong variant forms hung 
prominently over the top ledge.
DP

1 Salerno 1984, pp. 92–97.
[slut]

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Pietro Paolo Bonzi | Stilleben med frukter | Nationalmuseum

Pietro Paolo Bonzi | Still Life with Fruit | Nationalmuseum

Foto: Erik Cornelius / Nationalmuseum 1994