Post Impresionist School (XX) - XL Format - Still Life with Flowers

1. TECHNICAL DATA Proposed attribution: Spanish/Catalan post-impressionist school Possible author: María José Sadurní Viñes (Spain, 1954), in view of the identification plaque preserved in the frame Chronology: Second half of the 20th century Genre: Still life Theme: Interior still life with flowers, ceramic vessels, teapot and bottles Technique: Oil Support: Canvas Dimensions of the work without frame: 73 × 92 cm Total dimensions with frame: 100 × 120 cm Format: Large format Orientation: Horizontal Signature: No signature visible on the pictorial surface Inscriptions / plaque: The frame bears an identification plaque with surnames matching the artist María José Sadurní Viñes Style: Post-impressionist, with elements of modern synthesis and expressive color treatment Color palette: Purples, blues, ochres, yellows, grayish greens, whites and earth tones Frame: Prominent ivory-toned wooden frame, included as a gift Condition of the support: Canvas visible from the back, with arrangement and tension appreciable in the photographs Condition of the pictorial surface: Conservation in line with its chronology, with the typical texture of oil application Overall condition: Good, with signs of use and aging typical of time 2. DESCRIPTION Interesting large-format still life executed in oil on canvas, conceived within a clearly post-impressionist and modern sensibility. The composition brings together various domestic elements arranged on two successive planes: a large container with flowers occupies the left side, while in the center there are a teapot, several ceramic pieces and, to the right, a group of bottles that visually balance the scene. The artist avoids an excessively academic construction and opts for a free execution, based on color masses, partially open contours and visible brushwork. The work has a strong decorative presence, not only due to its dimensions but also because of the combination of purples, yellows, earth tones and muted greens, capable of generating a rich chromatic harmony very characteristic of 20th-century post-impressionist painting. 3. STYLISTIC AND COMPOSitional ANALYSIS The compositional structure is organized through large chromatic blocks and a deliberately asymmetric distribution of objects. The important floral bouquet on the left side functions as the main chromatic focus. It is executed with short, overlapped brushstrokes, especially visible in the blues, purples and whites, avoiding a precise botanical description to concentrate on the overall visual impression. In the central area, the ceramic pieces introduce a succession of rounded volumes that contrast with the verticality of the bottles on the right. This combination of curved forms and vertical elements brings rhythm to the scene. Perspective is consciously simplified. The objects are not depicted from a strictly naturalistic viewpoint, but show slight distortions and changes of perspective that respond to a modern conception of the still life. The treatment of the background is also interesting. The architectural surfaces are synthesized through large patches of greenish, yellowish and gray tones, while dark profiles delimit certain shapes and provide structure to the composition. The brushwork remains visible across much of the canvas. Rather than concealing the painting process, the artist makes the very matter and the gesture of the brush a fundamental part of the image. The whole connects with the post-impressionist tradition and with the renewal of the still life genre developed by numerous European painters during the 20th century. 4. PSYCHOLOGICAL AND AMBIENT DIMENSION Although it is a still life, the work carries a strong intimate component. The depicted objects — flowers, ceramics, bottles, fabrics and small domestic utensils — seem to belong to a familiar, lived-in space. There is no search for academic monumental awe, but rather a close, personal approach to the objects. The large bouquet introduces the most organic and dynamic element of the composition, while the bottles and vessels convey stability and permanence. This contrast between the fragility of the flowers and the solidity of ceramic and glass objects gives the scene an interesting internal tension. The light is diffuse and does not come from a clearly identified single source. This absence of theatrical lighting contributes to a tranquil, domestic and contemplative atmosphere. 5. SIGNATURE AND AUTHORSHIP HYPOTHESIS The work shows no signature on the pictorial surface. However, the frame retains an identification plaque whose surnames match those of the Spanish artist María José Sadurní Viñes, born in 1954. The coincidence is particularly interesting from a cataloguing point of view, since she is a documented artist in the Spanish auction market. The pictorial workmanship, the theme and the apparent chronology of the work are compatible with a Spanish production from the second half of the 20th century. Nevertheless, in the absence of a visible signature, certified document, original label, or provenance allowing a conclusive attribution, the work is prudently offered as Spanish Post-Impressionist School, noting the possible relation to María José Sadurní Viñes based on the plaque preserved in the frame. This reference should be regarded as an attribution hypothesis and not as a definitive certification of authorship. 6. OTHER DATA OF INTEREST María José Sadurní Viñes is documented as a Spanish artist born in 1954, and her work has appeared on the secondary market and in auctions of Spanish painting. The presence of an identification plaque linked to her surname is thus an item of interest worth keeping with the work. The back allows direct viewing of the canvas and the mounting system. The work also presents a substantial format of 73 × 92 cm of painting surface and reaches approximately 100 × 120 cm once framed, giving it strong visual presence. The light frame in a clear tone creates an especially effective contrast with the violets, ochres and greens of the composition. Because of its dimensions and theme, the work is particularly suitable for large spaces, collections of 20th-century Spanish painting, or interior design projects. 7. SHIPPING AND CONDITIONS The work will be professionally packaged by Barcelona Art Gallery using materials of maximum protection. The packing will be done in a tailor-made crate with specific foam protectors to ensure maximum safety during transport. We offer national and international shipments through a professional company. Due to the piece’s large format once framed, there may be additional costs arising from reinforced packing, handling, or special transport. In certain destinations, especially outside the European Union, there may also be customs duties, Taxes, documentation or export procedures, which will be borne by the buyer where applicable. The frame is offered free of charge as a complement to the work and is considered a gift. For this reason, the frame may not be subject to claims. The conservation state of the work and the frame can be observed in detail in the photographs, which form an integral part of the description.

Estimation:€600

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