Italian school; XVII century."Vase".Fragments of oil on canvas adhered to panel.Presents restorations on the edges and lack of frame.Measurements: 43 x 43 cm; 52 x 52 cm (frame).Still life of flowers, of octagonal format, belonging to the Italian Baroque school, the painting presents a clear structure, perfectly centered in space and apparently simple. The flowers, which were normally represented in vases, occupy here almost all the space of the pictorial surface. Without a visible vase, the flowers are arranged against an indeterminate, neutral and darker background in the right area of the composition. The flowers are thus highlighted, vividly illuminated for the most part, against the muted background. The lighting is of tenebrist heritage, typical of the Italian school, defined by the use of an artificial, directed and scenographic spotlight, which falls directly on the central area of the bouquet, bringing out brightness and enhancing the qualities of the petals, leaving the rest enveloped in a very nuanced half-light. It is a dynamic composition with respect to the arrangement of the elements, a composition centered and dominated by geometry, where open and dynamic structures can also be appreciated, full of diagonals, of the full baroque. As already mentioned, the lighting aspect, on the other hand, is key in this work, and reveals the direct influence of the tenebrist baroque, which reached these still life painters and lasted until well into the eighteenth century.The still life or still life occupied the lowest rung of the hierarchy of genres in the history of art, yet it became increasingly popular with buyers. In addition to the independent theme of still life, it addressed other types of painting themes by using prominent, usually symbolic, elements and images that were based on a multitude of elements of nature apparently to reproduce a part of life. It is worth noting that within the still life, the representation of flowers, or vases, established itself as a subgenre highly appreciated among collectors, who saw in these paintings the perfect element for the decoration of their extensive properties.