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ATTRIBUÉ À JEAN-MICHEL PICART (VERS 1600-1682) Corbeille de pêches et de raisins
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ATTRIBUÉ À JEAN-MICHEL PICART (VERS 1600-1682) Corbeille de pêches et de raisins huile sur toile 41,5 x 56 cm (16 1⁄ 3 x 22 in.)Collection M., Paris, dès 1974 (selon M. Faré, 1974, op. cit. infra). Vente anonyme, Drouot-Richelieu, Paris, 24 juin 2005, lot 35 (comme 'attribué à Jean-Michel Picart'). Vente anonyme, Drouot-Richelieu, Paris, 23 juin 2006, lot 277 (comme 'attribué à Jean-Michel Picart'). Collection particulière de la région parisienne.T. Crombie, 'Landscape, Portrait, Still life, in current old master exhibitions', Apollo, novembre 1962, LXXVI, 9, p. 706 (comme 'Louise Moillon'). M. L. Hairs, Les peintres flamands de fleurs au XVIIe siècle, Bruxelles, 1965, p. 257 (comme 'Jean-Michel Picart'). M. Faré, Le grand siècle de la nature morte en France. Le XVIIe siècle, Fribourg-Paris, 1974, p. 94 (comme 'J. M. Picart'), reproduit en noir et blanc. E. Greindl, Les peintres flamands de nature morte du XVIIe siècle, Sterrebeek, 1983, p. 373 (comme 'Jean-Michel Picart'. C. Wright, The French Painters of the Seventeenth Century, Boston, 1985, p. 241 (comme 'Jean-Michel Picart'). D. Alsina, Louyse Moillon (Paris, vers 1610-1696). La nature morte au Grand Siècle. Catalogue raisonné, Dijon, 2009, p. 258, n°127 (comme 'J. M. Picart'), reproduit en noir et blanc p. 258, fig. CXXVIII.Londres, H. Terry-Engell Gallery, Exhibition of fine paintings of the seventeenth century Dutch, Flemish and French schools, 6 novembre-15 décembre 1962, n°21 (comme 'Louyse Moillon').ATTRIBUTED TO JEAN-MICHEL PICART (CIRCA 1600-1682), A BASKET OF PEACHES AND GRAPES, OIL ON CANVAS Born in Antwerp, Jean-Michel Picart (1600-1682) spent most of his career in Paris, maintaining throughout his career a taste for more restrained compositions in line with his northern counterparts, rather than his French contemporaries. Michel Faré (1913-1985) proposed this attribution as early as 1974, although the present painting had hitherto been commonly accepted as a work by Louise Moillon (1610-1696), due to an spurious inscription on the reverse (M. Faré, Le grand siècle de la nature morte en France. Le XVIIe siècle, Fribourg-Paris, 1974, p. 94). Faré likened this work to a composition with similar fruit, now in the Karlsruhe Museum (inv. no. 494). Still lifes with peaches are all evidence of a fruit that was particularly popular in the seventeenth century. Jean-Baptiste de La Quintinie (1626-1688), director of the fruit gardens of Louis XIV (1638-1715), cultivated no fewer than thirty-three different kinds for the monarch, declaring: ‘I know very well that peaches, when they have their natural goodness, are, so to speak, the precious manna of our gardens, and indeed, by all accounts, they are worth more than any seeded fruit’ (J. Vitaux, Le dessous des plats, Chroniques gourmandes, Paris, 2013, p. 47). Far from being a royal privilege, it was near Paris, in Montreuil, that the cultivation of peach trees developed, giving Parisians the opportunity to enjoy this juicy fruit. This delicate still life therefore both presents a snapshot of Parisian customs and follows in the footsteps of the Flemish masters.