GABRIEL DE LA CORTE (Madrid, 1648 - 1694)."Vase with flowers".Oil on canvas. Re-coloured.It has repainting and 20th century frame.Measurements: 84 x 63 cm; 102 x 82,5 cm (frame).This canvas offers us a greatposition of floral motive that covers practically the whole surface. The group of flowers is placed on a wicker basket and this, in turn, on a small table or surface covered with a brown cloth. On a dark background that enhances and brightens theposition, various species of flowers such as tulips, dahlias, daffodils, roses, bluebells, among others, are joined together. The stems and leaves are twisted into arabesque shapes. Falling from the bouquet and on the cloth, there is a pink dahlia, on the other side, on the right of this same table, there is a small white butterfly with open wings. The artist painted this still life with great detail in the drawing, using a multicoloured palette with more impastoed brushstrokes in some of the flowers to enhance them, while the less visible ones are barely rendered with a fine glaze. Unlike other genre painters, Gabriel de la Corte's works are characterised by overloadedpositions, freedom of execution and his spontaneous, vigorous brushstrokes laden with paint. His style foreshadowed later developments in the 18th century.A Baroque painter specialising in vases, he was the son of the Madrid painter Lucas de la Corte, although his paternity has been the subject of debate among important scholars such as Antonio Palomino and Cean Bermúdez. De la Corte enjoyed little success during his lifetime, which led him to eke out a meagre living by painting at low prices and evenpleting the works of other artists by inserting flowers into their works. The present work therefore follows the basic characteristics of Gabriel de la Corte, presenting a pair of paintings of flowers arranged in vases, giving rise to an overloadedposition in which the freedom of execution and the spontaneous and vigorous touch of the brush full of matter prevail. De la Corte's style is influenced by those of Arellano and anticipates the still lifes of flowers that would later be crowded withplicatedpositions on elaborate cartouches. Thus we are faced with two mature works by De la Corte, in which the vases are filled with dense and varied bouquets of brightly coloured flowers, executed with dense brushstrokes. With a marked verticality, these are imaginativepositions that prelude the arrival of Rococo, breaking with symmetry and tending towards horror vacui. In them, the flowers still appear full, voluminous, in all their splendour, as would be typical of the Baroque (in the Rococo, on the other hand, the flowers would be preferred half-open, not so full). However, the vases are placed in the strict centre of the painting, contained in elaborate vases, on pedestals finished in rocaille and set against a dark background against which the brightly lit flowers are outlined. However, the a