Fede Galizia (1578-1630) pioneered still life portraits during the first decade of the early 17th century, and her works are considered amongst the earliest known still life created by an Italian artist. This painting belongs to one of five nearly identical still-life paintings by Galizia, all done with the same arrangements. Only the inclusion of a grasshopper in the composition has made it distinct from the rest. The grasshopper near the cut fruit is understood as evil or death, however, its exact meaning remains to be unknown. The composition includes a raised-dish in the centre, fruits and Jasmine flowers placed symmetrically on either side of the dish and on the edges of the table. The artist has painted highly-naturalistic details which have brought life to the painting and created harmony between the luminous light of the fruit against the dark background. In contrast with the solidity of the glass dish, Galizia has used layers of glazing to create the soft appearance of peaches. She has used light and shadow to depict the ripening condition of the peaches and the curves of the leaves. Its discovery in the 20th century has served as a prime example of understanding women artists' attention to detail and creativity in their paintings. The sense of beauty and naturalism portrayed in the painting allows the viewers to delve into its symbolic meaning but also enjoy the minute details.
The art historian Flavio Caroli, who catalogued her oeuvre, famously described the atmosphere of this work as possessing a "sublime, quivering coldness" that places it among the finest of her production. It is a penetrating observation. This is not the sentimental warmth of a Dutch market scene. It is a rigorous, almost hostile, interrogation of the physical world, filtered through a female gaze that had been denied access to the nudes and battles of the public sphere.
