Karel Van Vogelaer, known as Charles of Flowers, Vase of Flowers

Karel Van Vogelaer, known as Carlo dei Fiori (Maastricht 1653- Rome 1695)

Flowerpot

Oil on canvas, 77 x 94 cm

Criticism sheet Prof.Alberto Cottino

The vase of flowers in question, executed with great technical expertise, attention to detail and naturalistic analysis, is part of the tradition of still lifes of flowers from the Roman context of the late seventeenth century. In particular, this pictorial season was dominated by the presence of foreigners very skilled in floral representation such as Franz Werner von Tamm, Christian Berentz and Karen van Vogelaer. It is precisely to the latter that the execution of the work in question can be attributed. 

Karen van Vogelaer (1653-1695) was nicknamed Carlo de Fiori precisely because of his great skill in depicting them. He arrived in Rome at least in 1675, when he was registered in the company of Flemish painters "Bentveughel" and remained there until his death in 1695. The twenty years in Rome were dotted with numerous commissions from the most renowned collectors, such as the Colonnas. 

Shortly after his death, in 1699 the Pallavicini acquired two of his works, which for critics were an important starting point for the reconstruction of his artistic identity, together with the other few certain works: the two canvases at the National Museum in Stockholm, one in the collection Canessa and others reported by Alberto Veca and Didier Bodart. Observing these and the canvas under analysis, the main characteristics of Vogelaer's works are revealed: the vertical orientation of the support, the large and lush bouquets of flowers placed in vases placed in an outdoor setting which gives, as in the case in question, on architectural elements and landscape views which, together with the pale color palette, increase the decorative taste of the work. Here the colors are well calibrated, the pale pink is combined with the more saturated red and white, so as to give greater three-dimensionality to the representation. For the background, the colors of the earth and the cerulean of the sky dominate. 

Sometimes his compositions see the addition of animals such as rabbits or putti of Maratto influence. 

Carlo dei Fiori, as already mentioned, must have arrived in Rome around the age of 20, spending the rest of his life here: therefore his paintings are influenced by Roman culture, incorporating the stylistic features of Porpora or Nuzzi as well as being influential and certainly stimulating for him. the rich presence of compatriots.

Little is known about Vogelaer but the competition with Tamm is known, which arose when Maratta did not want Carlo die Fiori's collaboration for one of his Flora but preferred Tamm himself.  

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