Afternoon Meal (Sweets): chocolate, strawberries, biscuits, and bread

Artist Juan Bautista Romero Spanish, b. Ruzafa (Valencia) 1756–d. Madrid after 1802

Datecirca 1775–1790

MediumOil on panel

Dimensions17 x 23 in. (43.2 x 58.4 cm)
Frame: 23 7/8 x 29 7/8 in. (60.6 x 75.9 cm)

ClassificationsPaintings

Credit LinePurchased with funds from the North Carolina State Art Society (Robert F. Phifer Bequest)

Object numberG.52.9.184

On View

On view

ProvenanceMiguel Angel Muguiro, Madrid; "Sons of Santiago Pierrad," Madrid; with Newhouse Galleries, New York; sold to NCMA, 1952.
Published ReferencesLa Exposición de floreros y bodegones en la pintura española (exhibition catalogue) (Madrid: Palacio de la Biblioteca Nacional, 1935), cat. no. 78.

Art News (April 1956), 45, illus.

W. R. Valentiner, Catalogue of Paintings: Including Three Sets of Tapestries (Raleigh: North Carolina Museum of Art, 1956), no. 218.

Juan Antonio Gaya Nuño, La pintura española fuera de España (Madrid: 1958), cat. no. 2513.

Anthony Kerrigan, "El nuevo museo de Carolina del Norte y su coleccion de pinturas espanolas," Goya 13 (1956), 56-60, illus. 58.

The Golden Age of Spanish Still-Life Painting (exhibition catalogue) (Newark, NJ: Newark Museum of Art, 1964), cat. no. 78.

Robert F. Phifer Collection (exhibition catalogue) (Raleigh: North Carolina Museum of Art, 1973), 78, illus. (b-w) 79.

Juan J. Luna, "Miscelanea sobre Bodegones de Melendez a Goya," Goya 183 (November-December 1984), 151-57.

Edward J. Sullivan, Catalogue of Spanish Paintings (Raleigh: North Carolina Museum of Art, 1986), cat. no. 24, illus. (b-w) 80.

Alfonso E. Pérez Sánchez, La Nature Morte Espagnole: du XVII siècle à Goya (Paris: Office du Livre, 1987), 200, illus. 196, fig. 208; figs. 206, 207, on 194, 195 are related.

Susan McLaughlin and Robert F. Margolskee, "The Sense of Taste," American Scientist 82, no. 6 (November-December 1994), illus. (color) 539.

Wiliam B. Jordan and Peter Cherry, Spanish Still Life from Velazquez to Goya (London: National Gallery Publications, 1995), 171, 201, illus. (color) 170, cf. 25-27 (G.52.9.184, G.52.9.185, G.52.9.186, G.52.9.187).

Peter Cherry and Juan J. Luna, Luis Meléndez Bodegones (Madrid: Museo Nacional del Prado, 2004), illus. (color) 100.

Bodo Vischer, Goyas Stillleben: Das Auge der Natur (Petersberg: Michael Imhof Verlag, 2005), 54, illus. (color).

Edward J. Sullivan, The Language of Objects in the Art of the Americas (New Haven and London: Yale University Press, 2007), mentioned 25, illus. (b-w) 26, fig. 17.

Peter Cherry, Luis Meléndez: Still-Life Painter (Madrid: Fundación de Apoyo a la Historia del Arte Hispánico, 2006), discussed 290-292, illus. (color) 289, fig. 274.

Andrés Sánchez López, La pintura de bodegones y floreros en España en el siglo XVIII (Madrid: Fundacíon Arte Hispánico, 2008), listed and discussed 660, illus. (color) 351 and 557.

Alexis Merle du Bourg, "Nature morte aux fraises et á la tasse de chocolat de Juan Bautista Romero," in Dossier de l'Art no. 164 (2009), 65, illus. (color).
Exhibition HistoryMadrid, Palacio de la Biblioteca Nacional, "La Exposición de floreros ybodegones en la pintura española," May 11-June 20, 1935, cat. no. 78.

Newark, NJ, Newark Museum of Art, "The Golden Age of Spanish Still-Life Painting," December 10, 1964-January 26, 1965, cat. no. 78.

Raleigh, NC, North Carolina Museum of Art, "Robert F. Phifer Collection," March 31-May 13, 1973, 78, illus. (b-w) 79.

Raleigh, NC, North Carolina Museum of Art, "Spanish Still-Life Paintings from the Permanent Collection," (collateral exhibition to: "Luis Meléndez: Spanish Still-Life Painter of the Eighteenth Century"), January 12- March 10, 1985, brochure 6, illus. fig. 7.

Raleigh, NC, North Carolina Museum of Art, Mary Duke Biddle Education Gallery, "Objects of Delight: Still Lifes from the Permanent Collection," October 5, 1990-June 16, 1991.

New York, NY, El Museo del Barrio, "Nueva York," September 15, 2010-January 9, 2011.

Raleigh, NC, North Carolina Museum of Art, "The People's Collection, Reimagined," October 7, 2022–present. Object Rights Statement

The North Carolina Museum of Art (NCMA) makes images of its collection available online to support research and scholarship and to inform and educate the public. Certain works of art, as well as the photographs of those works of art, may be protected by copyright, trademark, or related interests not owned by the NCMA. The responsibility for ascertaining whether any such rights exist and for obtaining all other necessary permissions remains with the applicant. To request images and/or permissions from the NCMA, please complete our online request form.