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In the 1650s and 1660s, when Amsterdam became the social, political, and financial capital of the Netherlands, still-life painters such as Van Beyeren and Willem Kalf (1971.254; 53.111) produced fancy pronk (display) still lifes featuring imported fruits and expensive objects such as Chinese porcelain, Venetian glassware, and silver-gilt cups and trays, usually rendered in glistening light and a velvety …
Perishable or expended items symbolize life's transience: a snuffed–out candle, spilled olives, half–eaten minced pie, and a lemon, only half–peeled. From the 1620s to the late 1640s, Dutch artists preferred monochromatic tones for their still lifes and landscapes. Heda was a master of such cool gray or warm tan color schemes.
Aug 07, 2018 · Women artists of the time tended, like their male counterparts, to focus on portraits of individuals, religious themes and still life paintings. A few Flemish and Dutch women became successful, with portraits and still life pictures, but also more family …
Judith Jans Leyster (1609—1660) was one of three significant women artists in Dutch Golden Age painting. The other two, Rachel Ruysch and Maria van Oosterwijk, were specialized painters of flower still lifes, while Leyster painted genre works, a few portraits, and a single still life.
Adriaen van Utrecht, Vanitas Still Life with a Bouquet and a Skull (1643) 19th Century. Artists continued to paint still lifes, but they were still regarded as less important than scenes from the Bible or ancient myths, for example. That changed in the 19th century with the …
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