Andalusian School; first half of the 17th century. ‘Still life’. Oil on canvas. Relined Measurements: 58,5 x 83,5 cm; 66,5 x 91 cm (frame). This is a sober composition centred on a clearly delimited space, in which the painter's illusionist taste stands out, as he superimposes some elements on others, thus creating the typical Baroque trompe l'oeil. This canvas depicts a still life of a kitchen, composed of a number of elements mostly in the foreground, in a style directly related to the Spanish Baroque masters. The setting is clearly enclosed by a neutral background. As was the case with many of the Baroque masters, especially the Dutch, here the elements that make up the still life are arranged in a disorganised but clear manner on a flat surface that runs parallel to the lower edge of the painting. A ceramic jug, the spring onions and the presence of the lamb's head indicate the everyday nature of a kitchen still life, but it is true that the presence of the lamb has certain religious reminiscences. This was a common feature in the Spanish school of still life painting. The artist based his conception and treatment of this painting on his knowledge of the Spanish tradition of the genre, which is rooted in the 17th-century masters. His knowledge of the Dutch and Flemish schools of still-life painting is also evident in the apparently chaotic arrangement of the elements that make up the scene. As for the Hispanic tradition itself, we can appreciate the rigour and sobriety of the elements that make up the scene, avoiding any superfluous sumptuousness. The origin of the still life genre in Spain can be found in the early years of the 17th century, when it was still approached in a rational and rigorous style, with a Mannerist heritage. However, as the Baroque period progressed, still lifes and vases became increasingly more dynamic, the compositions became more open and more naturalistic and theatrical.