After working initially in his native city as a protégé of Rinaldo d'Este, Duke of Modena, Munari went to Rome in 1703, where he soon found patronage among the leading aristocratic families. By 1706 he had moved to Florence and there he worked at the court of Ferdinand de' Medici. His style and subject matter reveal the influence of Flemish still life artists such as Jan Davidsz. de Heem and the German painter Christian Berentz, who worked in Rome in the early part of the eighteenth century. The opulent tastes of his wealthy clientele are reflected in the luxurious and often exotic goods found in his still lives.
In 1706 the abbot Orazio Marrini described Munari's talents, writing 'he delighted moreover in representing with lively colouring pieces of fir wood in such a way as to make one think that attached to them with pins were prints and drawings, little portraits, scissors and other suchlike implements with such lifelikeness as to astound one'.
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