Flemish or Italian master; mid-17th century."Scene from the Commedia dell'Arte".Oil on canvas. Relined.Attached pictorial analysis issued by Icono, I&R, restoration and technical studies of easel painting.It has an export permit and condition report issued by Icono Restauración.It has restorations.Measurements: 116 x 144 cm.During the 16th century most of the painting reflected biblical themes, in which the authors approached the stories of the gospels to the spectators through the clothes of the models, who adopted attitudes contemporary to the time. The uniqueness of this work lies in the fact that the subject matter is based on popular reality and everyday life. However, it is not the typical tavern scenes, where the different strata of society were represented, but is dedicated to the theatre. Specifically to the Comedia Dell'arte", an enlightening fact, since during this historical period the artistic genres were more closely linked than ever before. The characters we see are archetypes taken from the aforementioned theatrical genre, in fact, we can recognise the figure of Coviello, located in the foreground on the right, while the central characters, who appear without masks and stand out for their soft, gentle and youthful features, could represent Florindo and Rosaura, a couple in love who are common in the performances of the "Comedia dell'arte".The figures in the scene seem to show a specific moment that has been captured by the viewer in the manner of a photograph. Their expressive gestures, the way they interact and the emotion on their faces distance this painting from the forced stagnation of the figures common in Flemish painting of the period, thus revealing the Italian influence. One feature that reveals the great complexity of this painting is the composition, in which the artist plays with an apparently simple frieze-like arrangement in which he introduces a typically Baroque cross or crossbrow that enhances the dynamism of the scene, leaving the central figures in the centre to take centre stage. Despite the great profusion of figures and their monumentality, the artist introduces a sense of spatiality that is particularly reflected in the arrangement of the still life in the foreground. This still life reflects the painter's technical skill in capturing with great realism the casserole with the milk or, for example, the eggs hanging on Coviello's chest. Even the presence of the cat, who is the only character who remains static, but is nonetheless humanised through the detail of the collar. The lighting is clearly reminiscent of Caravaggist painting, which also dealt with this type of subject matter, as did other painters such as Jan Cossiers and Johan Liss.