Tommaso Realfonso, also known by the affectionate diminutive "Masillo," stands as a significant, if sometimes overlooked, figure in the vibrant tapestry of Neapolitan Baroque art. Active primarily in the late 17th and early 18th centuries (circa 1677–1743), Realfonso carved a niche for himself as a dedicated and skilled painter of still lifes. His work, deeply rooted in the naturalistic traditions of Naples, reflects both the tutelage of his master, Andrea Belvedere, and the broader artistic currents that swept through this bustling Italian cultural hub. This exploration delves into the life, oeuvre, and artistic milieu of a painter whose canvases captured the ephemeral beauty of the everyday with remarkable sensitivity and technical prowess.
Early Life and Artistic Formation under Andrea Belvedere
Born around 1677 in Naples, a city teeming with artistic innovation and patronage, Tommaso Realfonso's early life and entry into the world of painting are intrinsically linked to Andrea Belvedere (1652–1732). Belvedere was himself a distinguished master of still life, particularly renowned for his opulent flower paintings and lush arrangements of fruits. It was under Belvedere's guidance that Realfonso honed his fundamental skills. The master-pupil relationship in Baroque Italy was an immersive experience, involving rigorous training in drawing, paint preparation, composition, and the nuanced observation of nature.
Belvedere, known for his elegant and often decorative compositions, would have imparted to Realfonso a deep appreciation for the textures, colors, and forms of the natural world. The nickname "Masillo," reportedly bestowed upon him by Belvedere, suggests a degree of familiarity and perhaps affection within the workshop, a common practice in the close-knit artistic communities of the time. While Realfonso would eventually develop his own distinct stylistic tendencies, the foundational principles absorbed in Belvedere's studio remained a cornerstone of his artistic practice throughout his career.
The Neapolitan Artistic Context: A Crucible of Naturalism
To fully appreciate Tommaso Realfonso's contribution, one must understand the artistic environment of Naples during his formative and active years. The city was a major European metropolis, a melting pot of influences, and a powerhouse of artistic production. The legacy of Michelangelo Merisi da Caravaggio (1571–1610), who had worked in Naples in the early 17th century, cast a long and profound shadow. Caravaggio's revolutionary naturalism, his dramatic use of chiaroscuro (strong contrasts between light and dark), and his elevation of ordinary subjects and people resonated deeply with Neapolitan painters.
This Caravaggist tradition fostered a strong current of realism that permeated various genres, including still life. Painters in Naples were particularly adept at rendering the tangible reality of objects, from the glistening scales of fish to the velvety skin of a peach. The still-life genre itself flourished, catering to a growing demand from patrons who appreciated the virtuosity involved in capturing the transient beauty of nature and the bounty of the earth and sea. Artists like Giuseppe Recco (1634–1695) and his son Giovanni Battista Recco (active c. 1650-1680) were pivotal figures in establishing a robust Neapolitan still-life tradition, often depicting market scenes, fish, and kitchen interiors with a raw, unvarnished realism that Realfonso would later engage with. Other notable still-life specialists active in or influencing Naples included Abraham Brueghel (1631-1697), who brought a Flemish richness to the city, and later, Paolo Porpora (1617-1673), known for his detailed depictions of forest undergrowth and animals.
Realfonso's Artistic Style: Naturalism, Light, and Detail
Tommaso Realfonso's style is characterized by a commitment to naturalism, a keen eye for detail, and a sophisticated understanding of light and shadow. His works often exhibit a meticulous rendering of textures – the rough skin of a melon, the smooth sheen of ceramic, the delicate translucency of a grape. He was praised for his ability to depict a wide array of subjects, earning him a reputation by some as a "universal painter" within the still-life domain, capable of tackling flowers, fruits, vegetables, fish, game, and kitchen utensils with equal facility.
His early works, particularly those from the 17th century, show a clear affinity with the robust naturalism of painters like Giuseppe Recco. There's a palpable sense of presence in his objects, achieved through careful modeling and an understanding of how light interacts with different surfaces. The influence of Caravaggist tenebrism, though perhaps softened compared to its more dramatic exponents, is evident in the way forms emerge from shadowy backgrounds, creating a sense of depth and volume. He was particularly skilled in capturing the interplay of light, which lent his compositions a distinct vibrancy and lifelikeness.
Signature Works and Thematic Concerns
Several works attributed to Tommaso Realfonso exemplify his artistic approach. One notable example often cited is a "Still life of fish, oysters, vegetables and octopus." Such a composition would have allowed Realfonso to showcase his versatility in rendering diverse textures: the slickness of the octopus, the rough shells of the oysters, the varied surfaces of the vegetables, and the shimmering scales of the fish. These arrangements were not merely technical exercises; they often spoke to the abundance of the Neapolitan region, its close relationship with the sea, and the everyday sustenance of its people. The dimensions recorded for one such piece, 200x102 cm, indicate a substantial canvas, suggesting it was intended as a significant decorative piece.
Another common theme in his oeuvre is the "Fruit Basket," a classic still-life subject that allowed for rich explorations of color, form, and texture. Paintings like these would feature carefully arranged assortments of seasonal fruits, perhaps grapes, figs, peaches, and pomegranates, often depicted with a dewy freshness that enhanced their verisimilitude. These works continued a long tradition in still-life painting, where fruit could carry symbolic meanings related to abundance, transience, or even religious allegory, though Realfonso's primary focus seems to have been on the faithful representation of the visible world.
His later works, such as "Dead Birds and Insects" and "Vase with Water Jug and Bronzes," both housed in the Museo di Capodimonte in Naples, demonstrate a continued engagement with the meticulous depiction of varied objects. The former, a common subgenre of still life, allowed for the display of skill in rendering feathers and the delicate forms of insects, often carrying vanitas connotations – reminders of the fleeting nature of life. The latter, featuring man-made objects alongside perhaps a floral element, would highlight his ability to capture the reflective qualities of metal and glazed pottery.
The "Masillo" Persona and A Sojourn in Spain
The nickname "Masillo," as mentioned, likely originated from his time with Andrea Belvedere. Such diminutives were common and often stuck with artists throughout their careers, becoming part of their professional identity. Beyond this, details of Realfonso's personal life are somewhat scarce, as is often the case with artists who were not of the absolute first rank of fame like a Luca Giordano (1634-1705) or Jusepe de Ribera (1591-1652), whose lives are more extensively documented.
An interesting chapter in Realfonso's career, according to some art historical accounts, involves a period spent in Spain. It is suggested that after completing his training, around 1694, he may have moved to Spain. During this time, he is believed to have continued his work as a still-life painter, producing compositions featuring grapes, cherries, plums, and peaches. These Spanish-period works are described as being characterized by bright illumination and a clear, almost crystalline, perspective. This potential Spanish interlude would have exposed him to different artistic traditions and patronage, possibly influencing his style before a presumed return to Naples. The Spanish still-life tradition, with masters like Juan Sánchez Cotán (1560-1627) and Francisco de Zurbarán (1598-1664), had its own distinct character, often marked by austerity and intense realism, which might have resonated with Realfonso's Neapolitan training.
Contemporaries, Influence, and Artistic Interactions
Tommaso Realfonso operated within a lively community of artists in Naples. He was a contemporary of other notable still-life painters, and the artistic environment would have been one of both collegiality and competition. Among his peers in the Neapolitan still-life scene were figures like Giacomo Nani (c. 1698–1755), who was notably influenced by Realfonso's style. Nani himself sometimes collaborated with figure painters, such as Paolo De Matteis (1662–1728), a common practice where specialists in different genres would contribute to a single canvas.
Other artists specializing in or contributing to still life in Naples during or around Realfonso's time included Gaspar Lopez (also known as Gaspare Lopez dei Fiori, active late 17th - early 18th century), who was of Spanish origin but active in Naples and known for his flower paintings. Baldassare De Caro (1689–1750) was another prominent Neapolitan still-life painter, particularly recognized for his depictions of animals, hunting scenes, and flowers, often with a dynamic and dramatic flair. Nicola Casissa (active late 17th - early 18th century) also contributed to the rich still-life output of the city. Realfonso is also noted to have been in competition with Luca Faella (active early 18th century) before any potential move to Spain, indicating his established presence in the Neapolitan art market.
The interactions within this artistic circle would have involved shared knowledge, stylistic influences, and the constant stimulus of seeing each other's work in patrons' collections or artists' studios. Realfonso's adherence to the naturalistic principles, refined under Belvedere and shaped by the broader Neapolitan environment, ensured his place within this tradition.
Later Career, Porcelain Decoration, and Legacy
As his career progressed into the 18th century, some art historians note a shift in Realfonso's style, with his later works showing a return towards the more decorative qualities reminiscent of his master, Andrea Belvedere. This might reflect evolving tastes of patrons or a personal stylistic evolution. His skill, however, remained undiminished.
A significant aspect of his later career, and a testament to his reputation, was his involvement with the Royal Porcelain Factory of Capodimonte, founded by King Charles III of Bourbon (Charles VII of Naples) in 1743. Realfonso is documented as having created designs for porcelain decoration. This was a prestigious commission, as the Capodimonte factory aimed to rival other major European porcelain manufacturers like Meissen. His expertise in depicting natural elements like flowers and fruits would have been highly valuable for creating intricate and beautiful patterns on these luxury items. This work demonstrates his adaptability and the esteem in which his representational skills were held.
Tommaso Realfonso died around 1743, the very year the Royal Porcelain Factory was established, suggesting his involvement might have been in its nascent stages or planning phase. His legacy is that of a dedicated and highly competent still-life painter who contributed significantly to the Neapolitan school. While perhaps not an innovator on the scale of Caravaggio or Ribera, he was a master of his chosen genre, faithfully upholding and perpetuating the region's strong tradition of naturalistic representation. His works, found in collections such as the Museo di Capodimonte and various private collections (including historically the Ducal Martina museum), continue to be appreciated for their technical finesse, their sensitive observation of nature, and their embodiment of the rich visual culture of Baroque Naples. He remains an important figure for understanding the depth and breadth of still-life painting in one of Italy's most artistically fertile cities.
Conclusion: A Master of Neapolitan Still Life
Tommaso Realfonso, or "Masillo," navigated the vibrant and competitive art world of Baroque Naples to establish himself as a respected master of still-life painting. From his foundational training with Andrea Belvedere to his own mature style characterized by meticulous naturalism and skillful handling of light, Realfonso created an oeuvre that celebrated the beauty and tangibility of the everyday world. His depictions of fruits, flowers, fish, and kitchen scenes not only showcased his technical virtuosity but also contributed to a genre that was deeply appreciated in Neapolitan culture.
His interactions with contemporaries, his possible sojourn in Spain, and his later work for the burgeoning Capodimonte porcelain manufactory all paint a picture of an artist actively engaged with the artistic currents of his time. While he may have operated within the established traditions of Neapolitan still life, rather than radically departing from them, his consistent quality and dedication to his craft ensure his enduring significance. Tommaso Realfonso's paintings offer a window into the visual sensibilities of his era and stand as a testament to the enduring appeal of still life as a genre capable of capturing both the minute details of the world and a profound sense of its presence. His brush, indeed, proved to be an enduring one.
