Clip Art Images of Bunches of Fruit for Church Bulletin Board

Type of painting

Jan Brueghel the Elderberry (1568–1625), Bouquet (1599). Some of the earliest examples of still life were paintings of flowers past Netherlandish Renaissance painters. Still-life painting (including vanitas), as a particular genre, achieved its greatest importance in the Golden Age of Netherlandish fine art (ca. 1500s–1600s).

A still life (plural: however lifes) is a work of art depicting mostly inanimate subject area affair, typically commonplace objects which are either natural (nutrient, flowers, dead animals, plants, rocks, shells, etc.) or homo-made (drinking spectacles, books, vases, jewelry, coins, pipes, etc.).^[1]

With origins in the Middle Ages and Ancient Greco-Roman art, still-life painting emerged as a singled-out genre and professional specialization in Western painting past the tardily 16th century, and has remained significant since so. 1 advantage of the nonetheless-life artform is that information technology allows an artist much liberty to experiment with the arrangement of elements within a composition of a painting. Still life, as a particular genre, began with Netherlandish painting of the 16th and 17th centuries, and the English language term still life derives from the Dutch discussion stilleven. Early even so-life paintings, particularly before 1700, oftentimes contained religious and emblematic symbolism relating to the objects depicted. Later still-life works are produced with a variety of media and technology, such every bit found objects, photography, figurer graphics, as well as video and sound.

The term includes the painting of dead animals, especially game. Alive ones are considered animate being art, although in practice they were frequently painted from dead models. Because of the use of plants and animals as a subject field, the still-life category as well shares commonalities with zoological and peculiarly botanical illustration. However, with visual or fine art, the work is not intended merely to illustrate the subject correctly.

Still life occupied the everyman rung of the hierarchy of genres, but has been extremely popular with buyers. Too as the independent nonetheless-life field of study, still-life painting encompasses other types of painting with prominent nevertheless-life elements, commonly symbolic, and "images that rely on a multitude of still-life elements ostensibly to reproduce a 'slice of life'".^[ii] The trompe-fifty'œil painting, which intends to deceive the viewer into thinking the scene is real, is a specialized type of even so life, usually showing inanimate and relatively flat objects.^[3]

Antecedents and development [edit]

Still life on a 2nd-century mosaic, with fish, poultry, dates and vegetables from the Vatican museum

Still-life paintings often adorn the interior of ancient Egyptian tombs. It was believed that food objects and other items depicted at that place would, in the afterlife, go real and bachelor for use by the deceased. Ancient Greek vase paintings also demonstrate great skill in depicting everyday objects and animals. Peiraikos is mentioned by Pliny the Elderberry as a panel painter of "low" subjects, such as survive in mosaic versions and provincial wall-paintings at Pompeii: "barbers' shops, cobblers' stalls, asses, eatables and similar subjects".^[4]

Like still life, more simply decorative in intent, but with realistic perspective, have also been establish in the Roman wall paintings and floor mosaics unearthed at Pompeii, Herculaneum and the Villa Boscoreale, including the later on familiar motif of a glass bowl of fruit. Decorative mosaics termed "emblema", establish in the homes of rich Romans, demonstrated the range of food enjoyed past the upper classes, and also functioned equally signs of hospitality and as celebrations of the seasons and of life.^[five]

Past the 16th century, food and flowers would again appear every bit symbols of the seasons and of the v senses. Also starting in Roman times is the tradition of the use of the skull in paintings as a symbol of bloodshed and earthly remains, oft with the accompanying phrase Omnia mors aequat (Death makes all equal).^[6] These vanitas images accept been re-interpreted through the final 400 years of fine art history, starting with Dutch painters around 1600.^[7]

The popular appreciation of the realism of all the same-life painting is related in the ancient Greek fable of Zeuxis and Parrhasius, who are said to take once competed to create the most lifelike objects, history'due south primeval descriptions of trompe-50'œil painting.^[8] As Pliny the Elderberry recorded in ancient Roman times, Greek artists centuries earlier were already advanced in the arts of portrait painting, genre painting and all the same life. He singled out Peiraikos, "whose artistry is surpassed by only a very few...He painted barbershops and shoemakers' stalls, donkeys, vegetables, and such, and for that reason came to be chosen the 'painter of vulgar subjects'; yet these works are altogether delightful, and they were sold at higher prices than the greatest [paintings] of many other artists."^[9]

Middle Ages and Early Renaissance [edit]

Hans Memling (1430–1494), Vase of Flowers (1480), Museo Thyssen-Bornemisza, Madrid. According to some scholars the Vase of Flowers is filled with religious symbolism.^[10]

By 1300, starting with Giotto and his pupils, still-life painting was revived in the course of fictional niches on religious wall paintings which depicted everyday objects.^[eleven] Through the Eye Ages and the Renaissance, yet life in Western art remained primarily an adjunct to Christian religious subjects, and convened religious and allegorical meaning. This was particularly true in the work of Northern European artists, whose fascination with highly detailed optical realism and symbolism led them to lavish keen attention on their paintings' overall message.^[12] Painters like Jan van Eyck often used still-life elements as office of an iconographic program.^{[ citation needed ]}

In the late Middle Ages, still-life elements, mostly flowers but also animals and sometimes inanimate objects, were painted with increasing realism in the borders of illuminated manuscripts, developing models and technical advances that were used by painters of larger images. There was considerable overlap between the artists making miniatures for manuscripts and those painting panels, especially in Early Netherlandish painting. The Hours of Catherine of Cleves, probably made in Utrecht effectually 1440, is one of the outstanding examples of this trend, with borders featuring an extraordinary range of objects, including coins and fishing-nets, chosen to complement the text or main image at that particular point. Flemish workshops later in the century took the naturalism of edge elements even further. Gothic millefleur tapestries are another instance of the full general increasing interest in accurate depictions of plants and animals. The set up of The Lady and the Unicorn is the all-time-known example, designed in Paris around 1500 and then woven in Flanders.^{[ commendation needed ]}

The development of oil painting technique by Jan van Eyck and other Northern European artists fabricated it possible to paint everyday objects in this hyper-realistic style, attributable to the slow drying, mixing, and layering qualities of oil colours.^[thirteen] Among the first to break free of religious significant were Leonardo da Vinci, who created watercolour studies of fruit (effectually 1495) as part of his restless examination of nature, and Albrecht Dürer who also made precise coloured drawings of flora and beast.^[xiv]

Petrus Christus' portrait of a bride and groom visiting a goldsmith is a typical example of a transitional still life depicting both religious and secular content. Though more often than not allegorical in message, the figures of the couple are realistic and the objects shown (coins, vessels, etc.) are accurately painted but the goldsmith is really a depiction of St. Eligius and the objects heavily symbolic. Some other similar type of painting is the family portrait combining figures with a well-gear up table of food, which symbolizes both the piety of the human subjects and their thanks for God's abundance.^[xv] Around this time, simple still-life depictions divorced of figures (merely not allegorical meaning) were outset to be painted on the exterior of shutters of private devotional paintings.^[9] Some other step toward the autonomous nonetheless life was the painting of symbolic flowers in vases on the back of secular portraits around 1475.^[16] Jacopo de' Barbari went a pace further with his Still Life with Partridge and Gauntlets (1504), amid the earliest signed and dated trompe-fifty'œil withal-life paintings, which contains minimal religious content.^[17]

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Later Renaissance [edit]

Sixteenth century [edit]

Though most still lifes after 1600 were relatively small paintings, a crucial stage in the development of the genre was the tradition, mostly centred on Antwerp, of the "awe-inspiring still life", which were large paintings that included swell spreads of still-life material with figures and oft animals. This was a evolution by Pieter Aertsen, whose A Meat Stall with the Holy Family unit Giving Alms (1551, now Uppsala) introduced the blazon with a painting that even so startles. Another example is "The Butcher Shop" by Aertsen'due south nephew Joachim Beuckelaer (1568), with its realistic depiction of raw meats dominating the foreground, while a groundwork scene conveys the dangers of drunkenness and lechery. The type of very big kitchen or market place scene developed by Pieter Aertsen and his nephew Joachim Beuckelaer typically depicts an affluence of food with a kitchenware all the same life and burly Flemish kitchen-maids. A small-scale religious scene tin often be made out in the distance, or a theme such as the Four Seasons is added to elevate the bailiwick. This sort of large-scale still life connected to develop in Flemish painting later the separation of the North and S, but is rare in Dutch painting, although other works in this tradition anticipate the "merry company" type of genre painting.^[18]

Gradually, religious content macerated in size and placement in this blazon of painting, though moral lessons continued as sub-contexts.^[19] One of the relatively few Italian works in the way, Annibale Carracci's handling of the same subject in 1583, Butcher'south Shop, begins to remove the moral messages, as did other "kitchen and market" still-life paintings of this flow.^[xx] Vincenzo Campi probably introduced the Antwerp way to Italy in the 1570s. The tradition continued into the next century, with several works past Rubens, who mostly sub-contracted the still-life and beast elements to specialist masters such every bit Frans Snyders and his pupil Jan Fyt. By the 2nd half of the 16th century, the democratic still life evolved.^[21]

The 16th century witnessed an explosion of interest in the natural earth and the creation of lavish botanical encyclopædias recording the discoveries of the New Globe and Asia. Information technology also prompted the beginning of scientific illustration and the classification of specimens. Natural objects began to be appreciated every bit individual objects of study apart from any religious or mythological associations. The early science of herbal remedies began at this time also, which was a practical extension of this new cognition. In addition, wealthy patrons began to underwrite the collection of animal and mineral specimens, creating extensive cabinets of curiosities. These specimens served every bit models for painters who sought realism and novelty. Shells, insects, exotic fruits and flowers began to be collected and traded, and new plants such as the tulip (imported to Europe from Turkey), were historic in however-life paintings.^[22]

The horticultural explosion was of widespread involvement in Europe and creative person capitalized on that to produce thousands of still-life paintings. Some regions and courts had detail interests. The delineation of citrus, for example, was a detail passion of the Medici court in Florence, Italy.^[23] This great diffusion of natural specimens and the burgeoning interest in natural illustration throughout Europe, resulted in the nearly simultaneous creation of modern even so-life paintings around 1600.^{[24] [25]}

At the turn of the century the Spanish painter Juan Sánchez Cotán pioneered the Spanish still life with austerely tranquil paintings of vegetables, before entering a monastery in his forties in 1603, afterward which he painted religious subjects.^{[ commendation needed ]}

Sixteenth-century paintings [edit]

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  Pieter Aertsen, A Meat Stall with the Holy Family Giving Alms (1551), 123.3 × 150 cm (48.five × 59")

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  Juan Sánchez Cotán (1560–1627), Withal life with Quince, Cabbage, Melon and Cucumber, oil on canvas, 69 × 84.5 cm

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  Giovanni Ambrogio Figino, Metal Plate with Peaches and Vine Leaves (1591–94), console, 21 × 30 cm, his only known still life

Seventeenth century [edit]

Prominent Academicians of the early 17th century, such as Andrea Sacchi, felt that genre and still-life painting did not conduct the "gravitas" merited for painting to be considered bully. An influential formulation of 1667 by André Félibien, a historiographer, builder and theoretician of French classicism became the classic argument of the theory of the bureaucracy of genres for the 18th century:

Celui qui fait parfaitement des païsages est au-dessus d'united nations autre qui ne fait que des fruits, des fleurs ou des coquilles. Celui qui peint des animaux vivants est plus estimable que ceux qui ne représentent que des choses mortes & sans mouvement ; & comme la figure de l'homme est le plus parfait ouvrage de Dieu sur la Terre, il est certain aussi que celui qui se rend l'imitateur de Dieu en peignant des figures humaines, est beaucoup plus excellent que tous les autres ...^[26]

He who produces perfect landscapes is above another who simply produces fruit, flowers or seafood. He who paints living animals is more than estimable than those who merely correspond dead things without movement, and as man is the well-nigh perfect work of God on the globe, it is as well certain that he who becomes an imitator of God in representing homo figures, is much more first-class than all the others ...".

Dutch and Flemish painting [edit]

Pieter Claesz (1597–1660), Still life with Musical Instruments (1623)

Notwithstanding life developed as a split category in the Low Countries in the final quarter of the 16th century.^[27] The English language term even so life derives from the Dutch word stilleven while Romance languages (as well as Greek, Smoothen, Russian and Turkish) tend to use terms meaning dead nature. 15th-century Early Netherlandish painting had adult highly illusionistic techniques in both panel painting and illuminated manuscripts, where the borders ofttimes featured elaborate displays of flowers, insects and, in a work like the Hours of Catherine of Cleves, a great variety of objects. When the illuminated manuscript was displaced by the printed volume, the aforementioned skills were later deployed in scientific botanical illustration; the Depression Countries led Europe in both botany and its depiction in art. The Flemish artist Joris Hoefnagel (1542–1601) made watercolour and gouache paintings of flowers and other still-life subjects for the Emperor Rudolf II, and in that location were many engraved illustrations for books (often then hand-coloured), such as Hans Collaert's Florilegium, published by Plantin in 1600.^[28]

Around 1600 flower paintings in oils became something of a craze; Karel van Mander painted some works himself, and records that other Northern Mannerist artists such as Cornelis van Haarlem as well did and then. No surviving flower-pieces past them are known, but many survive past the leading specialists, Jan Brueghel the Elder and Ambrosius Bosschaert, both active in the Southern Netherlands.^[29]

While artists in the North found limited opportunity to produce the religious iconography which had long been their staple—images of religious subjects were forbidden in the Dutch Reformed Protestant Church—the continuing Northern tradition of detailed realism and hidden symbols appealed to the growing Dutch middle classes, who were replacing Church and Land as the principal patrons of art in the netherlands. Added to this was the Dutch mania for horticulture, specially the tulip. These 2 views of flowers—as aesthetic objects and as religious symbols— merged to create a very stiff market for this type of still life.^[xxx] Still life, like most Dutch art work, was generally sold in open markets or past dealers, or past artists at their studios, and rarely deputed; therefore, artists usually chose the subject affair and arrangement.^[31] So popular was this type of still-life painting, that much of the technique of Dutch flower painting was codified in the 1740 treatise Groot Schilderboeck past Gerard de Lairesse, which gave broad-ranging communication on color, arranging, brushwork, preparation of specimens, harmony, limerick, perspective, etc.^[32]

The symbolism of flowers had evolved since early Christian days. The most common flowers and their symbolic meanings include: rose (Virgin Mary, transience, Venus, love); lily (Virgin Mary, virginity, female breast, purity of mind or justice); tulip (showiness, nobility); sunflower (faithfulness, divine dearest, devotion); violet (modesty, reserve, humility); columbine (melancholy); poppy (power, sleep, death). As for insects, the butterfly represents transformation and resurrection while the dragonfly symbolizes transience and the ant hard piece of work and attention to the harvest.^[33]

Flemish and Dutch artists also branched out and revived the aboriginal Greek nevertheless life tradition of trompe-l'œil, specially the imitation of nature or mimesis, which they termed bedriegertje ("little deception").^[8] In add-on to these types of nonetheless life, Dutch artists identified and separately developed "kitchen and market" paintings, breakfast and food table still life, vanitas paintings, and allegorical drove paintings.^[34]

In the Cosmic Southern Netherlands the genre of garland paintings was developed. Around 1607–1608, Antwerp artists Jan Brueghel the Elderberry and Hendrick van Balen started creating these pictures which consist of an image (usually devotional) which is encircled by a lush still life wreath. The paintings were collaborations between two specialists: a still life and a figure painter. Daniel Seghers developed the genre farther. Originally serving a devotional function, garland paintings became extremely pop and were widely used as decoration of homes.^[35]

A special genre of nonetheless life was the and then-called pronkstilleven (Dutch for 'ostentatious notwithstanding life'). This manner of ornate still-life painting was developed in the 1640s in Antwerp past Flemish artists such as Frans Snyders and Adriaen van Utrecht. They painted yet lifes that emphasized abundance by depicting a diversity of objects, fruits, flowers and expressionless game, often together with living people and animals. The manner was soon adopted by artists from the Dutch Republic.^[36]

Especially pop in this period were vanitas paintings, in which sumptuous arrangements of fruit and flowers, books, statuettes, vases, coins, jewelry, paintings, musical and scientific instruments, military insignia, fine silver and crystal, were accompanied past symbolic reminders of life's impermanence. Additionally, a skull, an hourglass or pocket sentry, a candle burning downward or a book with pages turning, would serve as a moralizing message on the ephemerality of sensory pleasures. Often some of the fruits and flowers themselves would be shown starting to spoil or fade to emphasize the aforementioned point.^{[ citation needed ]}

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  Jan Jansz. Treck (1606–1652), Still Life Pewter Jug and Two Porcelain Plates (1645)

Another type of withal life, known as ontbijtjes or "breakfast paintings", stand for both a literal presentation of delicacies that the upper class might enjoy and a religious reminder to avoid gluttony.^[37] Around 1650 Samuel van Hoogstraten painted one of the first wall-rack pictures, trompe-50'œil still-life paintings which feature objects tied, tacked or attached in some other fashion to a wall board, a type of still life very popular in the U.s.a. in the 19th century.^[38] Some other variation was the trompe-50'œil nevertheless life depicted objects associated with a given profession, as with the Cornelis Norbertus Gysbrecht's painting "Painter'due south Easel with Fruit Piece", which displays all the tools of a painter'due south craft.^[39] Too popular in the showtime one-half of the 17th century was the painting of a large array of specimens in allegorical form, such as the "five senses", "four continents", or "the iv seasons", showing a goddess or allegorical figure surrounded by advisable natural and man-made objects.^[twoscore] The popularity of vanitas paintings, and these other forms of still life, soon spread from Holland to Flanders and Deutschland, and besides to Kingdom of spain^[41] and France.

The Netherlandish production of even so lifes was enormous, and they were very widely exported, especially to northern Europe; Britain hardly produced any itself. High german still life followed closely the Dutch models; Georg Flegel was a pioneer in pure still life without figures and created the compositional innovation of placing detailed objects in cabinets, cupboards, and display cases, and producing simultaneous multiple views.^[42]

Dutch, Flemish, German and French paintings [edit]

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  Peter Paul Rubens, Diana Returning from the Chase, nevertheless life elements by a specialist (c. 1615)

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  Rembrandt, Still-Life with Two Expressionless Peacocks and a Girl (c. 1639)

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  Pieter Boel (1626–1674), Still Life with a Earth and a Parrot (c. 1658)

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  Osias Beert the Elder, Dishes with Oysters, Fruit, and Wine

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  George Flegel (1566–1638), Still-Life with Bread and Confectionery, 1630

Southern Europe [edit]

In Spanish art, a bodegón is a all the same-life painting depicting pantry items, such as victuals, game, and drinkable, frequently arranged on a elementary rock slab, and as well a painting with one or more figures, but significant however-life elements, typically set in a kitchen or tavern. Starting in the Baroque menstruum, such paintings became pop in Espana in the second quarter of the 17th century. The tradition of still-life painting appears to have started and was far more pop in the contemporary Low Countries, today Belgium and Netherlands (then Flemish and Dutch artists), than it ever was in southern Europe. Northern all the same lifes had many subgenres; the breakfast piece was augmented by the trompe-l'œil, the blossom bouquet, and the vanitas.^{[ citation needed ]}

In Spain there were much fewer patrons for this sort of thing, but a type of breakfast piece did become pop, featuring a few objects of food and tableware laid on a table. Still-life painting in Spain, too called bodegones, was austere. Information technology differed from Dutch withal life, which ofttimes contained rich banquets surrounded by ornate and luxurious items of material or glass. The game in Spanish paintings is ofttimes plain dead animals still waiting to exist skinned. The fruits and vegetables are uncooked. The backgrounds are dour or plain woods geometric blocks, ofttimes creating a surrealist air. Even while both Dutch and Spanish still life often had an embedded moral purpose, the austerity, which some detect alike to the bleakness of some of the Spanish plateaus, appears to refuse the sensual pleasures, plenitude, and luxury of Dutch still-life paintings.^[44]

Even though Italian nonetheless-life painting (in Italian referred to as natura morta, "dead nature") was gaining in popularity, information technology remained historically less respected than the "grand manner" painting of historical, religious, and mythic subjects. On the other hand, successful Italian notwithstanding-life artists institute ample patronage in their day.^[45] Furthermore, women painters, few as they were, unremarkably chose or were restricted to painting still life; Giovanna Garzoni, Laura Bernasconi, Maria Theresa van Thielen, and Fede Galizia are notable examples.^{[ citation needed ]}

Many leading Italian artists in other genre, also produced some still-life paintings. In particular, Caravaggio applied his influential form of naturalism to withal life. His Handbasket of Fruit (c. 1595–1600) is one of the first examples of pure still life, precisely rendered and prepare at eye level.^[46] Though not overtly symbolic, this painting was owned by Cardinal Federico Borromeo and may have been appreciated for both religious and aesthetic reasons. Jan Bruegel painted his Big Milan Bouquet (1606) for the cardinal, equally well, claiming that he painted information technology 'fatta tutti del natturel' (made all from nature) and he charged actress for the extra effort.^[47] These were among many however-life paintings in the cardinal'due south collection, in addition to his large collection of curios. Among other Italian still life, Bernardo Strozzi's The Cook is a "kitchen scene" in the Dutch style, which is both a detailed portrait of a cook and the game birds she is preparing.^[48] In a like manner, one of Rembrandt'due south rare even so-life paintings, Footling Daughter with Expressionless Peacocks combines a like sympathetic female portrait with images of game birds.^[49]

In Catholic Italy and Spain, the pure vanitas painting was rare, and there were far fewer withal-life specialists. In Southern Europe there is more than employment of the soft naturalism of Caravaggio and less emphasis on hyper-realism in comparison with Northern European styles.^[fifty] In France, painters of still lifes (nature morte) were influenced by both the Northern and Southern schools, borrowing from the vanitas paintings of the netherlands and the spare arrangements of Spain.^[51]

Italian gallery [edit]

Eighteenth century [edit]

Luis Meléndez (1716–1780), All the same Life with Apples, Grapes, Melons, Bread, Jug and Bottle

The 18th century to a large extent continued to refine 17th-century formulae, and levels of production decreased. In the Rococo style floral ornament became far more than common on porcelain, wallpaper, fabrics and carved woods effects, so that buyers preferred their paintings to accept figures for a contrast. One change was a new enthusiasm among French painters, who now class a large proportion of the most notable artists, while the English remained content to import. Jean-Baptiste Chardin painted small and simple assemblies of food and objects in a most subtle style that both built on the Dutch Gilt Age masters, and was to exist very influential on 19th-century compositions. Dead game subjects continued to be pop, specially for hunting lodges; well-nigh specialists also painted live animal subjects. Jean-Baptiste Oudry combined superb renderings of the textures of fur and feather with unproblematic backgrounds, oft the plain white of a lime-washed larder wall, that showed them off to advantage.^{[ citation needed ]}

By the 18th century, in many cases, the religious and emblematic connotations of still-life paintings were dropped and kitchen table paintings evolved into calculated depictions of varied colour and form, displaying everyday foods. The French aristocracy employed artists to execute paintings of bounteous and improvident still-life subjects that graced their dining tabular array, as well without the moralistic vanitas message of their Dutch predecessors. The Rococo love of artifice led to a rise in appreciation in France for trompe-50'œil (French: "pull a fast one on the eye") painting. Jean-Baptiste Chardin'due south still-life paintings employ a variety of techniques from Dutch-fashion realism to softer harmonies.^[52]

The majority of Anne Vallayer-Coster's piece of work was devoted to the language of nonetheless life every bit it had been developed in the course of the seventeenth and eighteenth centuries.^[53] During these centuries, the genre of still life was placed lowest on the hierarchical ladder. Vallayer-Coster had a mode virtually her paintings that resulted in their attractiveness. It was the "bold, decorative lines of her compositions, the richness of her colours and simulated textures, and the feats of illusionism she achieved in depicting wide variety of objects, both natural and artificial"^[53] which drew in the attention of the Royal Académie and the numerous collectors who purchased her paintings. This interaction between art and nature was quite common in Dutch, Flemish and French all the same lifes.^[53] Her work reveals the articulate influence of Jean-Baptiste-Siméon Chardin, every bit well as 17th-century Dutch masters, whose work has been far more highly valued, but what made Vallayer-Coster'due south way stand out against the other even so-life painters was her unique way of coalescing representational illusionism with decorative compositional structures.^{[53] [54]}

The end of the eighteenth century and the fall of the French monarchy closed the doors on Vallayer-Coster's still-life 'era' and opened them to her new way of florals.^[55] It has been argued that this was the highlight of her career and what she is best known for. Withal, it has also been argued that the flower paintings were futile to her career. Yet, this collection contained floral studies in oil, watercolour and gouache.^[55]

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  Carl Hofverberg (1695–1765), Trompe-l'œil (1737), Foundation of the Imperial Armoury, Sweden

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  Rachel Ruysch, Roses, Convolvulus, Poppies, and Other Flowers in an Urn on a Stone Ledge (1680s)

Nineteenth century [edit]

With the rising of the European Academies, well-nigh notably the Académie française which held a central role in Academic art, nonetheless life began to fall from favor. The Academies taught the doctrine of the "Hierarchy of genres" (or "Bureaucracy of Subject Matter"), which held that a painting's creative merit was based primarily on its subject area. In the Academic system, the highest course of painting consisted of images of historical, Biblical or mythological significance, with still-life subjects relegated to the very lowest order of artistic recognition. Instead of using still life to glorify nature, some artists, such as John Constable and Camille Corot, chose landscapes to serve that end.^{[ citation needed ]}

When Neoclassicism started to go into pass up by the 1830s, genre and portrait painting became the focus for the Realist and Romantic artistic revolutions. Many of the great artists of that period included still life in their body of piece of work. The nevertheless-life paintings of Francisco Goya, Gustave Courbet, and Eugène Delacroix convey a strong emotional current, and are less concerned with exactitude and more than interested in mood.^[56] Though patterned on the earlier notwithstanding-life subjects of Chardin, Édouard Manet's still-life paintings are strongly tonal and clearly headed toward Impressionism. Henri Fantin-Latour, using a more traditional technique, was famous for his exquisite flower paintings and made his living virtually exclusively painting nevertheless life for collectors.^[57]

However, it was non until the terminal decline of the Academic hierarchy in Europe, and the ascension of the Impressionist and Post-Impressionist painters, that technique and colour harmony triumphed over field of study matter, and that yet life was once again avidly skilful by artists. In his early still life, Claude Monet shows the influence of Fantin-Latour, only is one of the commencement to break the tradition of the dark background, which Pierre-Auguste Renoir also discards in Still Life with Bouquet and Fan (1871), with its bright orange groundwork. With Impressionist still life, emblematic and mythological content is completely absent, every bit is meticulously detailed brush piece of work. Impressionists instead focused on experimentation in wide, dabbing brush strokes, tonal values, and color placement. The Impressionists and Post-Impressionists were inspired by nature's colour schemes but reinterpreted nature with their own colour harmonies, which sometimes proved startlingly unnaturalistic. Every bit Gauguin stated, "Colours have their own meanings."^[58] Variations in perspective are also tried, such as using tight cropping and high angles, as with Fruit Displayed on a Stand up by Gustave Caillebotte, a painting which was mocked at the fourth dimension as a "brandish of fruit in a bird's-eye view."^[59]

Vincent van Gogh's "Sunflowers" paintings are some of the best-known 19th-century still-life paintings. Van Gogh uses mostly tones of yellow and rather apartment rendering to make a memorable contribution to nevertheless-life history. His Nevertheless Life with Cartoon Board (1889) is a self-portrait in still-life form, with Van Gogh depicting many items of his personal life, including his pipe, elementary food (onions), an inspirational volume, and a letter from his blood brother, all laid out on his table, without his ain image present. He as well painted his own version of a vanitas painting All the same Life with Open Bible, Candle, and Book (1885).^[58]

In the Usa during Revolutionary times, American artists trained abroad practical European styles to American portrait painting and still life. Charles Willson Peale founded a family unit of prominent American painters, and as major leader in the American fine art community, also founded a society for the training of artists as well as a famous museum of natural curiosities. His son Raphaelle Peale was one of a grouping of early American still-life artists, which besides included John F. Francis, Charles Bird Rex, and John Johnston.^[sixty] By the second one-half of the 19th century, Martin Johnson Heade introduced the American version of the habitat or biotope picture, which placed flowers and birds in simulated outdoor environments.^[61] The American trompe-l'œil paintings also flourished during this period, created by John Haberle, William Michael Harnett, and John Frederick Peto. Peto specialized in the nostalgic wall-rack painting while Harnett achieved the highest level of hyper-realism in his pictorial celebrations of American life through familiar objects.^[62]

Nineteenth-century paintings [edit]

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  Henri Fantin-Latour, (1836–1904), White Roses, Chrysanthemums in a Vase, Peaches and Grapes on a Table with a White Tablecloth (1867)

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  Paul Cézanne (1839–1906), The Black Marble Clock (1869–1871), private collection

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Twentieth century [edit]

The outset four decades of the 20th century formed an exceptional period of artistic ferment and revolution. Avant-garde movements rapidly evolved and overlapped in a march towards nonfigurative, full abstraction. The even so life, equally well equally other representational fine art, continued to evolve and adapt until mid-century when full abstraction, equally exemplified by Jackson Pollock's drip paintings, eliminated all recognizable content.^{[ citation needed ]}

The century began with several trends taking hold in fine art. In 1901, Paul Gauguin painted However Life with Sunflowers, his homage to his friend Van Gogh who had died eleven years before. The group known equally Les Nabis, including Pierre Bonnard and Édouard Vuillard, took upward Gauguin's harmonic theories and added elements inspired past Japanese woodcuts to their nonetheless-life paintings. French artist Odilon Redon also painted notable however life during this period, especially flowers.^[63]

Henri Matisse reduced the rendering of still-life objects fifty-fifty further to picayune more than bold, flat outlines filled with vivid colours. He also simplified perspective and introducing multi-colour backgrounds.^[64] In some of his still-life paintings, such every bit Still Life with Eggplants, his table of objects is nigh lost amidst the other colourful patterns filling the rest of the room.^[65] Other exponents of Fauvism, such as Maurice de Vlaminck and André Derain, further explored pure color and abstraction in their still life.^{[ citation needed ]}

Paul Cézanne found in nevertheless life the perfect vehicle for his revolutionary explorations in geometric spatial system. For Cézanne, however life was a principal means of taking painting away from an illustrative or mimetic function to one demonstrating independently the elements of colour, form, and line, a major step towards Abstract art. Additionally, Cézanne's experiments can be seen equally leading directly to the development of Cubist nonetheless life in the early 20th century.^[66]

Adapting Cézanne'due south shifting of planes and axes, the Cubists subdued the colour palette of the Fauves and focused instead on deconstructing objects into pure geometrical forms and planes. Between 1910 and 1920, Cubist artists like Pablo Picasso, Georges Braque, and Juan Gris painted many still-life compositions, frequently including musical instruments, bringing withal life to the forefront of creative innovation, almost for the showtime time. Still life was also the subject matter in the outset Synthetic Cubist collage works, such every bit Picasso's oval "However Life with Chair Caning" (1912). In these works, even so-life objects overlap and intermingle barely maintaining identifiable two-dimensional forms, losing individual surface texture, and merging into the background—achieving goals nearly opposite to those of traditional all the same life.^[67] Fernand Léger'southward still life introduced the use of abundant white infinite and coloured, sharply defined, overlapping geometrical shapes to produce a more than mechanical event.^[68]

Rejecting the flattening of space by Cubists, Marcel Duchamp and other members of the Dada move, went in a radically different direction, creating iii-D "ready-made" still-life sculptures. Every bit part of restoring some symbolic significant to still life, the Futurists and the Surrealists placed recognizable still-life objects in their dreamscapes. In Joan Miró's nonetheless-life paintings, objects announced weightless and bladder in lightly suggested 2-dimensional space, and fifty-fifty mountains are drawn as simple lines.^[66] In Italia during this time, Giorgio Morandi was the foremost still-life painter, exploring a wide diverseness of approaches to depicting everyday bottles and kitchen implements.^[69] Dutch creative person M. C. Escher, best known for his detailed yet ambiguous graphics, created Still life and Street (1937), his updated version of the traditional Dutch tabular array yet life.^[seventy] In England Eliot Hodgkin was using tempera for his highly detailed however-life paintings.^{[ citation needed ]}

When 20th-century American artists became enlightened of European Modernism, they began to interpret nevertheless-life subjects with a combination of American realism and Cubist-derived abstraction. Typical of the American even so-life works of this menstruation are the paintings of Georgia O'Keeffe, Stuart Davis, and Marsden Hartley, and the photographs of Edward Weston. O'Keeffe'south ultra-closeup flower paintings reveal both the concrete structure and the emotional subtext of petals and leaves in an unprecedented style.^{[ citation needed ]}

In United mexican states, starting in the 1930s, Frida Kahlo and other artists created their own make of Surrealism, featuring native foods and cultural motifs in their still-life paintings.^[71]

Starting in the 1930s, abstract expressionism severely reduced still life to raw depictions of class and color, until by the 1950s, total abstraction dominated the fine art world. Nevertheless, popular art in the 1960s and 1970s reversed the tendency and created a new course of still life. Much pop art (such as Andy Warhol's "Campbell's Soup Cans") is based on still life, just its truthful field of study is about frequently the commodified image of the commercial product represented rather than the physical nonetheless-life object itself. Roy Lichtenstein's Nevertheless Life with Goldfish Bowl (1972) combines the pure colours of Matisse with the pop iconography of Warhol. Wayne Thiebaud's Lunch Table (1964) portrays non a single family'southward lunch but an assembly line of standardized American foods.^[72]

The Neo-dada movement, including Jasper Johns, returned to Duchamp'south three-dimensional representation of everyday household objects to create their own brand of still-life work, as in Johns' Painted Bronze (1960) and Fool'southward Business firm (1962).^[73] Avigdor Arikha, who began equally an abstractionist, integrated the lessons of Piet Mondrian into his still lifes as into his other work; while reconnecting to old master traditions, he achieved a modernist ceremonial, working in one session and in natural light, through which the subject-matter frequently emerged in a surprising perspective.^{[ citation needed ]}

A significant contribution to the evolution of nevertheless-life painting in the 20th century was fabricated by Russian artists, among them Sergei Ocipov, Victor Teterin, Evgenia Antipova, Gevork Kotiantz, Sergei Zakharov, Taisia Afonina, Maya Kopitseva, and others.^[74]

Past contrast, the ascent of Photorealism in the 1970s reasserted illusionistic representation, while retaining some of Pop's bulletin of the fusion of object, prototype, and commercial production. Typical in this regard are the paintings of Don Eddy and Ralph Goings.^{[ commendation needed ]}

Twentieth-century paintings [edit]

• 

• 

21st century [edit]

During the 20th and 21st centuries, the notion of the still life has been extended across the traditional ii dimensional art forms of painting into video art and three dimensional art forms such as sculpture, functioning and installation. Some mixed media however-life works use establish objects, photography, video, and audio, and even spill out from ceiling to floor and fill an entire room in a gallery. Through video, still-life artists have incorporated the viewer into their work. Following from the calculator age with calculator art and digital art, the notion of the withal life has also included digital engineering science. Computer-generated graphics have potentially increased the techniques bachelor to nevertheless-life artists. 3D figurer graphics and 2D computer graphics with 3D photorealistic effects are used to generate constructed nevertheless life images. For example, graphic art software includes filters that can be applied to 2D vector graphics or 2D raster graphics on transparent layers. Visual artists have copied or visualised 3D furnishings to manually render photorealistic furnishings without the employ of filters.^{[ citation needed ]}

See likewise [edit]

• Dutch Golden Age painting
• List of Dutch painters
• Vanitas
• Memento Mori
• Nonetheless life photography

Notes [edit]

1. ^ Langmuir, 6
2. ^ Langmuir, 13–14
3. ^ Langmuir, thirteen–14 and preceding pages
4. ^ Volume XXXV.112 of Natural History
5. ^ Ebert-Schifferer, p. 19
6. ^ Ebert-Schifferer, p.22
7. ^ Ebert-Schifferer, p.137
8. ^ ^{a b} Ebert-Schifferer, p. 16
9. ^ ^{a b} Ebert-Schifferer, p. xv
10. ^ Memlings Portraits exhibition review, Frick Drove, NYC. Retrieved March 15, 2010.
11. ^ Ebert-Schifferer, p.25
12. ^ Ebert-Schifferer, p. 27
13. ^ Ebert-Schifferer, p. 26
14. ^ Ebert-Schifferer, p. 39, 53
15. ^ Ebert-Schifferer, p. 41
16. ^ Ebert-Schifferer, p. 31
17. ^ Ebert-Schifferer, p. 34
18. ^ Slive, 275; Vlieghe, 211–216
19. ^ Ebert-Schifferer, p. 45
20. ^ Ebert-Schifferer, p. 47
21. ^ Ebert-Schifferer, p.38
22. ^ Ebert-Schifferer, pp. 54–56
23. ^ Ebert-Schifferer, p. 64
24. ^ Ebert-Schifferer, p. 75
25. ^ Metropolitan Museum of Art Timeline, Still-life painting 1600–1800. Retrieved March fourteen, 2010.
26. ^ Books.google.co.uk, translation
27. ^ Slive 277–279
28. ^ Vlieghe, 207
29. ^ Slive, 279, Vlieghe, 206-7
30. ^ Paul Taylor, Dutch Flower Painting 1600–1720, Yale University Press, New Haven, 1995, p. 77, ISBN 0-300-05390-viii
31. ^ Taylor, p. 129
32. ^ Taylor, p. 197
33. ^ Taylor, pp. 56–76
34. ^ Ebert-Schifferer, p. 93
35. ^ Susan Merriam, Seventeenth-century Flemish Garland Paintings: Even so Life, Vision, and the Devotional Epitome, Ashgate Publishing, Ltd., 2012
36. ^ Oxford Dictionary of Art Terms: Pronkstilleven
37. ^ Ebert-Schifferer, p. 90
38. ^ Ebert-Schifferer, p. 164
39. ^ Ebert-Schifferer, p. 170
40. ^ Ebert-Schifferer, pp. 180–181
41. ^ Encounter Juan van der Hamen.
42. ^ Zuffi, p. 260
43. ^ Lucie-Smith, Edward (1984). The Thames and Hudson Dictionary of Fine art Terms . London: Thames and Hudson. p. 32. ISBN9780500233894. LCCN 83-51331
44. ^ Ebert-Schifferer, p. 71
45. ^ La natura morta in Italy edited by Francesco Porzio and directed past Federico Zeri; Review author: John T. Spike. The Burlington Magazine (1991) Book 133 (1055) folio 124–125.
46. ^ Ebert-Schifferer, p. 82
47. ^ Ebert-Schifferer, p. 84
48. ^ Stefano Zuffi, Ed., Baroque Painting, Barron's Educational Series, Hauppauge, New York, 1999, p. 96, ISBN 0-7641-5214-9
49. ^ Zuffi, p. 175
50. ^ Ebert-Schifferer, p. 173
51. ^ Ebert-Schifferer, p. 229
52. ^ Zuffi, p. 288, 298
53. ^ ^{a b c d} Michel 1960, p. i
54. ^ Berman 2003
55. ^ ^{a b} Michel 1960, p. ii
56. ^ Ebert-Schifferer, p. 287
57. ^ Ebert-Schifferer, p. 299
58. ^ ^{a b} Ebert-Schifferer, p. 318
59. ^ Ebert-Schifferer, p. 310
60. ^ Ebert-Schifferer, p. 260
61. ^ Ebert-Schifferer, p. 267
62. ^ Ebert-Schifferer, p. 272
63. ^ Ebert-Schifferer, p. 321
64. ^ Ebert-Schifferer, pp. 323–4
65. ^ Stefano Zuffi, Ed., Modern Painting, Barron's Educational Series, Hauppauge, New York, 1998, p. 273, ISBN 0-7641-5119-3
66. ^ ^{a b} Ebert-Schifferer, p. 311
67. ^ Ebert-Schifferer, p. 338
68. ^ David Piper, The Illustrated Library of Art, Portland Business firm, New York, 1986, p. 643, ISBN 0-517-62336-6
69. ^ David Piper, p. 635
70. ^ Piper, p. 639
71. ^ Ebert-Schifferer, p. 387
72. ^ Ebert-Schifferer, pp. 382–3
73. ^ Ebert-Schifferer, p. 384-6
74. ^ Sergei 5. Ivanov, Unknown Socialist Realism. The Leningrad School. – Petrograd: NP-Print Edition, 2007. – 448 p. ISBN 5-901724-21-6, ISBN 978-v-901724-21-7.

References [edit]

• Berman, Greta. "Focus on Art". The Juilliard Journal Online xviii:half-dozen (March 2003)
• Ebert-Schifferer, Sybille. All the same Life: A History, Harry Northward. Abrams, New York, 1998, ISBN 0-8109-4190-two
• Langmuir, Erica, Still Life, 2001, National Gallery (London), ISBN 1857099613
• Michel, Marianne Roland. "Tapestries on Designs by Anne Vallayer-Coster." The Burlington Mag 102: 692 (November 1960): i–two
• Slive, Seymour, Dutch Painting, 1600–1800, Yale University Printing, 1995, ISBN 0-300-07451-4
• Vlieghe, Hans (1998). Flemish Art and Architecture, 1585–1700. Yale University Printing Pelican history of fine art. New Haven: Yale Academy Press. ISBN 0-300-07038-1

External links [edit]

• Media related to Notwithstanding-life paintings at Wikimedia Commons

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Source: https://en.wikipedia.org/wiki/Still_life

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