Spanish school; first half of the 19th century. "Still lifes". Pair of oils on canvas. Re-framed. They have old frames adapted to the 19th century. Measurements: 51 x 64 cm (x2); 71,5 x 91 cm (frame, x2). Pair of still lifes with fruits and dead birds, following a similar composition centred in a clearly delimited space, limited by the wooden table on which the elements are arranged and closed at the back by a plain wall, worked in neutral tones and darker on one of its sides, looking for the light variation and the contrast of lights and shadows. Formally, the composition is also notable for its illusionist taste, with elements protruding from the outside of the table, typical Baroque trompe l'oeil. The still life in Spain was one of the most characteristic genres and, due to its special characteristics, is clearly different from the same subject in workshops in the rest of Europe. The term appeared at the end of the 16th century, and stands out in this school for its austerity, in clear contrast to Flemish sumptuousness, although with a series of influences from the latter and the Italian school. Sánchez Cotán's works were so successful that his style had numerous followers (Juan de Espinosa, Antonio Ponce, Juan van der Hamen y León, etc.). In this context, the Sevillian school contributed its own particularities, thanks above all to Velázquez and Zurbarán. Highly appreciated within the antiquarian market, as well as among collectors and art historians, the Spanish Baroque still life school enjoyed a spectacular development, leaving behind the splendour of the 16th century and progressing within a fully Baroque and clearly identifiable style. In Spain, the development of the genre was clearly marked by Italian influence, specifically by the contribution of the Neapolitan school. Today this school is considered one of the most outstanding in Baroque still life painting. The distinguishing mark of Neapolitan Baroque painters was always their strong naturalistic character and their warm chromatism, with a dominance of reddish and earthy tones, while the Spanish school was characterised by the use of a sober palette, with an emphasis on ochre tones. Dimensions 51 x 64 cm (x2); 71.5 x 91 cm (frame, x2).