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Still Life - “Naturaleza Mueta” Dead Life
Introduction
A still life (lives) is a work of art depicting mostly inanimate subject matter, typically made up from ‘natural’ (foods, flowers, plants) or man-made (glassware, books, ceramics) objects. Generally includes a fully depicted background, putting aesthetics as a primary concern, rather than the illustrative.
Still Life occupied the lowest rung in the hierarchy of genres; which was based on a distinction between art that made an intellectual effort to “render visible the universal essence of things” (imitare) and that which merely consisted of “mechanical copying of particular appearances” (ritrarre).
With origins in the Middle Ages and Ancient Graeco-Roman art, still-life painting emerged as a distinct genre and professional specialization in Western painting by the late 16 th century, and has remained significant since then.
Sourced from Wikipedia, the free encyclopaedia.
Having no particular experience, perception or knowledge in art when I started this course, I soon realised, there is far more to every painting than meets the eye; and that’s no different in still life paintings. In fact there is more freedom in composition and arrangement of objects, expression and symbolism, than in any other type.
Traditional approaches, sixteenth – seventeenth century Dutch painters.
Early still life grew painting out of details in figured subjects, then figured subjects overwhelmed still life, especially in the Flemish tradition. Wikipedia
A pivotal stage in the development of the genre was the “monumental still life” developed mostly in Antwerp. These were large paintings that included large parts of still life material, but also included figures (debauchery) and often animals.
Pieter Aertsen / A meat stall with the Holy Family Giving Alms 1551
Another example of this type of painting, were of large kitchens or marketplaces, which illustrated an abundance of food with Flemish kitchen maids in the foreground with religious connections in the background.
Joachim Beuckelaer / Kitchen scene, with Jesus in the house of Martha and Mary (1533–1575
Genres, traditions, symbolisms are largely endorsed in the 17th century, and it depended on whether the art came from the Northern Protestant, or the Southern Catholic areas, would play a big part on what it depicted.
Horticulture (flowers), aesthetic objects, as well as religious symbols were frequently depicted; thus continuing the tradition of detailed realism with hidden meaning which appealed to the middle classes, e.g.
Rose (Virgin Mary, Venus, Love) / Tulip (showiness, nobility) / Poppy (power, sleep, death)
Ambrosius Busschaert the Elder 1608
The ancient Greek still life tradition of Trompe-l'œil mostly the imitation of nature, which they termed Bedriegertie (“little deception”) was reintroduced.
Cornelis Norbertus Gysbrechts / Trompe-l'œil with letters 1668
Also the genre of Ontbijtjes known as “breakfast pieces” “a type of Protestant Reformation Art, highlights the transience of earthly life in comparison to Christian values” was developed.
Clara Peeters / “Breakfast” 1616
Garland paintings consisting of an image (usually devotional) which is encircled by a lush still life wreath, often collaborations between two specialists, a still life and a figure painter.
Daniel Seghers & Simon de Vos / Garland of Flowers surrounding a mocking of Christ
Pronkstilleven (‘ostentatious still life’), elaborate, ornate, depicting abundance using a diversity of objects such as fruits, flowers, meats also featuring people and animals.
Adriaen van Utrecht / Banquet Still Life 1644
Vanitas, paintings containing collections of objects symbolic of the inevitability of death, such as skulls, clocks, a candle burning down (the passing of time), decay/eaten food.
Pieter Claesz / Vanitas – Still Life 1625
Nineteenth Century
The religious, symbolic and mythological connotations of still life seem to have disappeared as is
meticulously detailed brush work; the impressionists, post-impressionists and Cubists favouring
instead experimenting with composition and angles, depiction of light and tonal values, brush
strokes and vibrant colours. However, genres such as Vanitas, Ontbijtjes and Horticulture can still be
clearly seen influencing their work.
Francisco Goya / Still life with Fruit, Bottles
and Bread 1824
Vincent Van Gogh / Sunflowers 1888
Paul Cezanne / The Black Mable Table Clock 1869-1871
Pablo Picassco / Nature morte au compotier 1914-1915
Georges Braque / The pedestal Table 1911
Today’s Still Life Contemporary Artists
I still see in today’s contemporary artists, reminisces of the Old Dutch masters and their genres. The
subject matter still divides into natural or man-made objects although portrayed in a more present-
day composition; including all types of modern and diverse mediums.
Audrey Flack / Wheel of Fortune 1977-1978
Photorealism
Maurice Scheltons & Liesbeth Abberies / Bouquet V 2005
Photography
Cindy Wright / Nature Morte 2 2010
Painting
Conclusion
Still life composition allows the artist prodigious scope to express meaning; whether this be symbolic
or aesthetic, religious or political. This is no more different today than it was throughout the
centuries, although techniques, expression, mediums, freedoms, accessibility, have all evolved and
adapted to modern day; internet, electronic technique photography, video, T.V. etc., are now quite
incredibly versatile than artists could have possibly imagined even thirty years ago. Allowing not only
the privileged but everyone to experience art.