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Jan Davidsz. de Heem

stilllife masters, Dutch Baroque Era Painter, 1606-C.1683
Jan Davidsz. de Heem Still-life painting


Still-life
Still-life
Painting ID::  10190
   Oil on panel, 55,8 x 73,5 cm Museum voor Schone Kunsten Ghent
  Oil on panel, 55,8 x 73,5 cm Museum voor Schone Kunsten Ghent

 
 
   
      

Jan Davidsz. de Heem

stilllife masters, Dutch Baroque Era Painter, 1606-C.1683
Jan Davidsz. de Heem Still-Life painting


Still-Life
Still-Life
Painting ID::  10192
   Oil on canvas 47 x 61 cm Kunstmuseum St. Gallen
  Oil on canvas 47 x 61 cm Kunstmuseum St. Gallen

 
 
   
      

Jan Davidsz. de Heem

stilllife masters, Dutch Baroque Era Painter, 1606-C.1683
Jan Davidsz. de Heem Still-life painting


Still-life
Still-life
Painting ID::  10194
   Oil on panel 49 x 64 cm Museo del Prado, Madrid
  Oil on panel 49 x 64 cm Museo del Prado, Madrid

 
 
   
      

ZURBARAN Francisco de

Spanish Baroque Era Painter, 1598-1664 Spanish painter. He was apprenticed in 1614 to a painter in Sevilla (Seville), where he lived until 1658 when he moved to Madrid. He had a few royal commissions but remained throughout his life a provincial painter of religious pictures. His apostles, saints, and monks are painted with almost sculptural modeling, and his emphasis on the minutiae of their dress lends verisimilitude to their miracles, visions, and ecstasies. This distinctive combination of naturalism with religious sensibility conforms to the guidelines for Counter-Reformation artists outlined by the Council of Trent. He had numerous commissions from monasteries and churches throughout southern Spain, and many of his works were sent to Lima, Peru.
ZURBARAN Francisco de Still-life painting


Still-life
Still-life
Painting ID::  7095
   Oil on canvas, 46 x 84 cm Museo del Prado, Madrid
  Oil on canvas, 46 x 84 cm Museo del Prado, Madrid

 
 
   
      

WILLEBEECK, Petrus

Flemish painter, Antwerp school (active 1632-1646 in Antwerp)
WILLEBEECK, Petrus Still-Life painting


Still-Life
Still-Life
Painting ID::  7260
   Oil on canvas, 80 x 110 cm Rockox House, Antwerp
  Oil on canvas, 80 x 110 cm Rockox House, Antwerp

 
 
   
      

Francisco de Zurbaran

1598-1664 Spanish Francisco de Zurbaran Galleries Spanish baroque painter, active mainly at Llerena, Madrid, and Seville. He worked mostly for ecclesiastical patrons. His early paintings, including Crucifixion (1627; Art Inst., Chicago), St. Michael (Metropolitan Mus.), and St. Francis (City Art Museum, St. Louis), often suggest the austere simplicity of wooden sculpture. The figures, placed close to the picture surface, are strongly modeled in dramatic light against dark backgrounds, indicating the influence of Caravaggio. They were clearly painted as altarpieces or devotional objects. In the 1630s the realistic style seen in his famous Apotheosis of St. Thomas Aquinas (1631; Seville) yields to a more mystical expression in works such as the Adoration of the Shepherds (1638; Grenoble); in this decade he was influenced by Ribera figural types and rapid brushwork. While in Seville, Zurbur??n was clearly influenced by Velazquez. After c.1640 the simple power of Zurbaran work lessened as Murillo influence on his painting increased (e.g., Virgin and Child with St. John, Fine Arts Gall., San Diego, Calif.). There are works by Zurbar??n in the Hispanic Society of America, New York City; the National Gallery, Washington, D.C.; and the Philadelphia Museum of Art..
Francisco de Zurbaran Still-life painting


Still-life
Still-life
Painting ID::  29528
   Oil on canvas, 46 x 84 cm
  Oil on canvas, 46 x 84 cm

 
 
   
      
unknow artist Still-Life painting


Still-Life
Still-Life
Painting ID::  50523
   mk212 c.1885 Oil on canvas 85.7x111.1cm
  mk212 c.1885 Oil on canvas 85.7x111.1cm

 
 
   
      
unknow artist Still-Life painting


Still-Life
Still-Life
Painting ID::  50524
   mk212 1868 Oil on canvas 25x30in
  mk212 1868 Oil on canvas 25x30in

 
 
   
      
unknow artist Still-life painting


Still-life
Still-life
Painting ID::  50610
   mk213 Oil on canvas
  mk213 Oil on canvas

 
 
   
      

Pieter Claesz

Dutch 1597-1660 Pieter Claesz Locations Dutch painter of German birth. He apparently spent his entire career in Haarlem, where he specialized in still-life paintings. Well over 100 works survive, dating from 1621 to 1660. Most of his pictures are dated and monogrammed PC. Since those initials were shared by the Antwerp still-life painter CLARA PEETERS, several attributions are disputed.
Pieter Claesz Still-Life painting


Still-Life
Still-Life
Painting ID::  50910
   mk216 The Dutch middle classes maintained their homes with great pride
  mk216 The Dutch middle classes maintained their homes with great pride

 
 
   
      

CLAESZ, Pieter

Dutch Baroque Era Painter, ca.1597-1660 Dutch painter of German birth. He apparently spent his entire career in Haarlem, where he specialized in still-life paintings. Well over 100 works survive, dating from 1621 to 1660. Most of his pictures are dated and monogrammed PC. Since those initials were shared by the Antwerp still-life painter CLARA PEETERS
CLAESZ, Pieter Still-life painting


Still-life
Still-life
Painting ID::  52776
   mk223 The Dutch middle classes maintained their homes with great pride in the 17th century
  mk223 The Dutch middle classes maintained their homes with great pride in the 17th century

 
 
   
      

Pieter Claesz

Dutch 1597-1660 Pieter Claesz Locations Dutch painter of German birth. He apparently spent his entire career in Haarlem, where he specialized in still-life paintings. Well over 100 works survive, dating from 1621 to 1660. Most of his pictures are dated and monogrammed PC. Since those initials were shared by the Antwerp still-life painter CLARA PEETERS, several attributions are disputed.
Pieter Claesz Still-life painting


Still-life
Still-life
Painting ID::  52778
   mk223 Oil on canvas
  mk223 Oil on canvas

 
 
   
      

Marie Laurencin

French Painter, ca.1885-1956 French painter, stage designer and illustrator. After studying porcelain painting at the Sevres factory (1901) and drawing in Paris under the French flower painter Madelaine Lemaire (1845-1928), in 1903-4 she studied at the Academie Humbert in Paris, where she met Georges Braque and Francis Picabia. In 1907 she first exhibited paintings at the Salon des Independants, met Picasso at Clovis Sagot gallery and through Picasso was introduced to the poet Guillaume Apollinaire. Laurencin and Apollinaire were soon on intimate terms, their relationship lasting until 1912.
Marie Laurencin Still-life painting


Still-life
Still-life
Painting ID::  52840
   mk224 oil on canvas 22x27cm 1938
  mk224 oil on canvas 22x27cm 1938

 
 
   
      

Marie Laurencin

French Painter, ca.1885-1956 French painter, stage designer and illustrator. After studying porcelain painting at the Sevres factory (1901) and drawing in Paris under the French flower painter Madelaine Lemaire (1845-1928), in 1903-4 she studied at the Academie Humbert in Paris, where she met Georges Braque and Francis Picabia. In 1907 she first exhibited paintings at the Salon des Independants, met Picasso at Clovis Sagot gallery and through Picasso was introduced to the poet Guillaume Apollinaire. Laurencin and Apollinaire were soon on intimate terms, their relationship lasting until 1912.
Marie Laurencin Still-life painting


Still-life
Still-life
Painting ID::  52863
   mk224 Oil on canvas 44.5x36.5cm 1939
  mk224 Oil on canvas 44.5x36.5cm 1939

 
 
   
      

Gustave Courbet

1819-1877 French Gustave Courbet Locations was a French painter whose powerful pictures of peasants and scenes of everyday life established him as the leading figure of the realist movement of the mid-19th century. Gustave Courbet was born at Ornans on June 10, 1819. He appears to have inherited his vigorous temperament from his father, a landowner and prominent personality in the Franche-Comte region. At the age of 18 Gustave went to the College Royal at Besancon. There he openly expressed his dissatisfaction with the traditional classical subjects he was obliged to study, going so far as to lead a revolt among the students. In 1838 he was enrolled as an externe and could simultaneously attend the classes of Charles Flajoulot, director of the ecole des Beaux-Arts. At the college in Besançon, Courbet became fast friends with Max Buchon, whose Essais Poetiques (1839) he illustrated with four lithographs. In 1840 Courbet went to Paris to study law, but he decided to become a painter and spent much time copying in the Louvre. In 1844 his Self-Portrait with Black Dog was exhibited at the Salon. The following year he submitted five pictures; only one, Le Guitarrero, was accepted. After a complete rejection in 1847, the Liberal Jury of 1848 accepted all 10 of his entries, and the critic Champfleury, who was to become Courbet first staunch apologist, highly praised the Walpurgis Night.
Gustave Courbet Still-life painting


Still-life
Still-life
Painting ID::  55526
   mk242 1872 38.5x56cm Oil on canvas
  mk242 1872 38.5x56cm Oil on canvas

 
 
   
      

Gustave Courbet

1819-1877 French Gustave Courbet Locations was a French painter whose powerful pictures of peasants and scenes of everyday life established him as the leading figure of the realist movement of the mid-19th century. Gustave Courbet was born at Ornans on June 10, 1819. He appears to have inherited his vigorous temperament from his father, a landowner and prominent personality in the Franche-Comte region. At the age of 18 Gustave went to the College Royal at Besancon. There he openly expressed his dissatisfaction with the traditional classical subjects he was obliged to study, going so far as to lead a revolt among the students. In 1838 he was enrolled as an externe and could simultaneously attend the classes of Charles Flajoulot, director of the ecole des Beaux-Arts. At the college in Besançon, Courbet became fast friends with Max Buchon, whose Essais Poetiques (1839) he illustrated with four lithographs. In 1840 Courbet went to Paris to study law, but he decided to become a painter and spent much time copying in the Louvre. In 1844 his Self-Portrait with Black Dog was exhibited at the Salon. The following year he submitted five pictures; only one, Le Guitarrero, was accepted. After a complete rejection in 1847, the Liberal Jury of 1848 accepted all 10 of his entries, and the critic Champfleury, who was to become Courbet first staunch apologist, highly praised the Walpurgis Night.
Gustave Courbet Still-life painting


Still-life
Still-life
Painting ID::  55592
   mk242 1871-1872 Oil on canvas 44.5x61cm
  mk242 1871-1872 Oil on canvas 44.5x61cm

 
 
   
      

Gustave Courbet

1819-1877 French Gustave Courbet Locations was a French painter whose powerful pictures of peasants and scenes of everyday life established him as the leading figure of the realist movement of the mid-19th century. Gustave Courbet was born at Ornans on June 10, 1819. He appears to have inherited his vigorous temperament from his father, a landowner and prominent personality in the Franche-Comte region. At the age of 18 Gustave went to the College Royal at Besancon. There he openly expressed his dissatisfaction with the traditional classical subjects he was obliged to study, going so far as to lead a revolt among the students. In 1838 he was enrolled as an externe and could simultaneously attend the classes of Charles Flajoulot, director of the ecole des Beaux-Arts. At the college in Besançon, Courbet became fast friends with Max Buchon, whose Essais Poetiques (1839) he illustrated with four lithographs. In 1840 Courbet went to Paris to study law, but he decided to become a painter and spent much time copying in the Louvre. In 1844 his Self-Portrait with Black Dog was exhibited at the Salon. The following year he submitted five pictures; only one, Le Guitarrero, was accepted. After a complete rejection in 1847, the Liberal Jury of 1848 accepted all 10 of his entries, and the critic Champfleury, who was to become Courbet first staunch apologist, highly praised the Walpurgis Night.
Gustave Courbet Still-life painting


Still-life
Still-life
Painting ID::  55595
   mk242 1871 Oil on canvas 59x73cm
  mk242 1871 Oil on canvas 59x73cm

 
 
   
      

Bela Ivanyi-Grunwald

(6 May 1867 - 24 September 1940) was a Hungarian painter, a leading member of the Nagybenya artists' colony and founder of the Kecskemet artists' colony. Born in Som, Ivenyi-Grenwald began his artistic studies under Bertalan Szekely and Keroly Lotz at the Academy of Fine Arts in Budapest (1882-86) and continued them at Munich in 1886-87 and at the Academie Julian in Paris from 1887 to 1890. From 1891 he again worked in Munich; in 1894 he travelled with Ferenc Eisenhut to Egypt, where he painted several oriental-themed works. Beginning in 1889 he had regular exhibitions at the Palace of Art in Budapest. Characteristic of his early pictures is A Hader kardja ("The Warrior's Sword", 1890), a proto-Symbolist treatment of rural genre showing the influence of Jules Bastien-Lepage. After his return to Munich, Ivenyi-Grenwald painted a large-scale genre painting entitled Nihilistek sorsot heznak ("Nihilists Drawing Lots", 1893), a work as notable for its dramatic use of chiaroscuro as for its deeply felt subject-matter. In response to a state commission for the 1896 Millennium Exhibition in Budapest he produced an enormous academic history painting.
Bela Ivanyi-Grunwald Still-life painting


Still-life
Still-life
Painting ID::  74525
   before 1903(1903) Oil on canvas 63X50.5 cm cjr
  before 1903(1903) Oil on canvas 63X50.5 cm cjr

 
 
   
      
unknow artist Still-Life painting


Still-Life
Still-Life
Painting ID::  74530
   17th century Oil on canvas 72 X 82 cm (28.35 X 32.28 in) cjr
  17th century Oil on canvas 72 X 82 cm (28.35 X 32.28 in) cjr

 
 
   
      

Jacopo Chimenti

(30 April 1551 - 30 September 1640) was an Italian late-mannerist painter. Born in Florence as Jacopo Chimenti (Empoli being the birth place of his father), he worked mostly in his native city. He apprenticed under Maso da San Friano. Like his contemporary in Counter-Maniera (Counter-Mannerism), Santi di Tito, he moved into a style often more crisp, less contorted, and less crowded than mannerist predecessors like Vasari. He collaborated with Alessandro Tiarini in some projects. Among his pupils were Felice Ficherelli, Giovanni Battista Brazze (Il Bigio), Giovanni Battista Vanni, and Virgilio Zaballi. In later years, the naturalism becomes less evident. The porcelain features of his figures accentuated the academic classical trends that restrained Florentine painting during the Baroque period.
Jacopo Chimenti Still-Life painting


Still-Life
Still-Life
Painting ID::  74538
   17th century Oil on canvas cjr
  17th century Oil on canvas cjr

 
 
   
      
unknow artist Still-life painting


Still-life
Still-life
Painting ID::  74715
   1657 Oil on canvas 52 x 74 cm cjr
  1657 Oil on canvas 52 x 74 cm cjr

 
 
   
      

Luis Eugenio Melendez

(Naples, 1716-Madrid, 1780) was a Spanish painter. Although he received little acclaim during his lifetime and died in poverty, Melendez is recognized today as the greatest Spanish still-life painter of the 18th century. His mastery of composition and light, and his remarkable ability to convey the volume and texture of individual objects enabled him to transform the most mundane of kitchen fare into powerful images. Luis Egidio Melendez de Rivera Durazo y Santo Padre was born in Naples in 1716. His father, Francisco Melendez de Rivera Diaz (1682- after 1758), was a miniaturist painter from Oviedo who had moved to Madrid with his older brother, the portrait painter Miguel Jacinto Melendez (1679-1734) in pursuit of artistic instruction. Whereas Miguel remained in Madrid to study and became a painter in the court of Philip V, Francisco left for Italy in 1699 to seek greater artistic exposure. Francisco took a special interest in visiting the Italian academies and settled in Naples where he married Maria Josefa Durazo y Santo Padre Barrille. Luis was a year old when his father, who had been a soldier in a Spanish garrison and lived abroad for almost two decades, returned to Madrid with the family. Luis Egidio, his brother Jose Agusten, and Ana, one of his sisters, began their careers under the tutelage of their father, who was appointed the King's Painter of Miniatures in 1725. After several years, in his words: painting royal portraits in jewels and bracelets to serve as gifts for envoys and ambassadors, he entered the workshop of Louis Michel van Loo (1707-1771), a Frenchman who had been made royal painter of Philip V of Spain.
Luis Eugenio Melendez Still-Life painting


Still-Life
Still-Life
Painting ID::  74815
   1770 Oil on canvas 49 x 37 cm cjr
  1770 Oil on canvas 49 x 37 cm cjr

 
 
   
      
unknow artist Still-Life painting


Still-Life
Still-Life
Painting ID::  74834
   Still-Life 17th century Oil on canvas cjr
  Still-Life 17th century Oil on canvas cjr

 
 
   
      

Floris van Schooten

(1590-1655), was a Dutch Golden Age still life painter. According to the RKD, Van Schooten was the son of a leading Catholic family of Amsterdam who came to live in Haarlem in 1612. During that period, many Catholic families left Amsterdam where the Protestants had the upper hand in local government, for Haarlem, where the climate for Catholicism was more tolerant. The young Van Schooten became a member of the Haarlem Guild of St. Luke and married the daughter of a leading beer brewer there, Rycklant Bol van Zanen. Together they had 3 daughters and a son Johannes, who also became a painter
Floris van Schooten Still-Life painting


Still-Life
Still-Life
Painting ID::  75336
   Still-Life", Panel, Frans Halsmuseum, Haarlem ca. 1640
  Still-Life", Panel, Frans Halsmuseum, Haarlem ca. 1640

 
 
   
      
unknow artist Still-Life painting


Still-Life
Still-Life
Painting ID::  76068
   Date 17th century Medium Oil on canvas Dimensions 72 ?? 82 cm (28.3 ?? 32.3 in) cyf
  Date 17th century Medium Oil on canvas Dimensions 72 ?? 82 cm (28.3 ?? 32.3 in) cyf

 
 
   
      

Jacopo Chimenti

(30 April 1551 - 30 September 1640) was an Italian late-mannerist painter. Born in Florence as Jacopo Chimenti (Empoli being the birth place of his father), he worked mostly in his native city. He apprenticed under Maso da San Friano. Like his contemporary in Counter-Maniera (Counter-Mannerism), Santi di Tito, he moved into a style often more crisp, less contorted, and less crowded than mannerist predecessors like Vasari. He collaborated with Alessandro Tiarini in some projects. Among his pupils were Felice Ficherelli, Giovanni Battista Brazze (Il Bigio), Giovanni Battista Vanni, and Virgilio Zaballi. In later years, the naturalism becomes less evident. The porcelain features of his figures accentuated the academic classical trends that restrained Florentine painting during the Baroque period.
Jacopo Chimenti Still-Life painting


Still-Life
Still-Life
Painting ID::  76081
   Date 17th century Medium Oil on canvas cyf
  Date 17th century Medium Oil on canvas cyf

 
 
   
      

Willem Claesz Heda

1594-1682 Dutch Willem Claesz Heda Galleries Dutch painter. He was a still-life painter, who, like Pieter Claesz., is noted for his monochrome breakfast-pieces, which are, however, more opulent than those of Claesz. Heda earliest dated work is a Vanitas (1621; The Hague, Mus. Bredius), which shows a still-life from a high viewpoint, composed of various objects bearing vanitas associations (e.g. a bowl of glowing embers, smoker requisites, an overturned glass and a skull); the colouring is in brownish-grey tones and represents one of the earliest examples of a Dutch monochrome still-life (monochrome refers to the range of tones, rather than of colours). Even in this early work Heda skill at painting textures is evident. A more balanced composition is achieved in another Still-life (1629; The Hague, Mauritshuis) and in the Breakfast Table (1631; Dresden, Gemeldegal. Alte Meister), in both of which the objects, set against a neutral background, are linked by a strong diagonal. The Mauritshuis still-life also gives an early indication of Heda interest in painting the effects of light. In 1631 he became a member of the Haarlem Guild of St Luke (of which he served as deacon on several occasions after 1637).
Willem Claesz Heda Still-life painting


Still-life
Still-life
Painting ID::  76244
   Date 1657 Medium Oil on canvas Dimensions 52 x 74 cm cyf
  Date 1657 Medium Oil on canvas Dimensions 52 x 74 cm cyf

 
 
   
      

Luis Eugenio Melendez

(Naples, 1716-Madrid, 1780) was a Spanish painter. Although he received little acclaim during his lifetime and died in poverty, Melendez is recognized today as the greatest Spanish still-life painter of the 18th century. His mastery of composition and light, and his remarkable ability to convey the volume and texture of individual objects enabled him to transform the most mundane of kitchen fare into powerful images. Luis Egidio Melendez de Rivera Durazo y Santo Padre was born in Naples in 1716. His father, Francisco Melendez de Rivera Diaz (1682- after 1758), was a miniaturist painter from Oviedo who had moved to Madrid with his older brother, the portrait painter Miguel Jacinto Melendez (1679-1734) in pursuit of artistic instruction. Whereas Miguel remained in Madrid to study and became a painter in the court of Philip V, Francisco left for Italy in 1699 to seek greater artistic exposure. Francisco took a special interest in visiting the Italian academies and settled in Naples where he married Maria Josefa Durazo y Santo Padre Barrille. Luis was a year old when his father, who had been a soldier in a Spanish garrison and lived abroad for almost two decades, returned to Madrid with the family. Luis Egidio, his brother Jose Agusten, and Ana, one of his sisters, began their careers under the tutelage of their father, who was appointed the King's Painter of Miniatures in 1725. After several years, in his words: painting royal portraits in jewels and bracelets to serve as gifts for envoys and ambassadors, he entered the workshop of Louis Michel van Loo (1707-1771), a Frenchman who had been made royal painter of Philip V of Spain.
Luis Eugenio Melendez Still-Life painting


Still-Life
Still-Life
Painting ID::  76277
   Date 1770 Medium Oil on canvas Dimensions 49 x 37 cm cyf
  Date 1770 Medium Oil on canvas Dimensions 49 x 37 cm cyf

 
 
   
      
unknow artist Still-life painting


Still-life
Still-life
Painting ID::  76527
   Oil on canvas Dimensions 65 ?? 54 cm (25.6 ?? 21.3 in) cyf
  Oil on canvas Dimensions 65 ?? 54 cm (25.6 ?? 21.3 in) cyf

 
 
   
      

Pieter Claesz

Dutch 1597-1660 Pieter Claesz Locations Dutch painter of German birth. He apparently spent his entire career in Haarlem, where he specialized in still-life paintings. Well over 100 works survive, dating from 1621 to 1660. Most of his pictures are dated and monogrammed PC. Since those initials were shared by the Antwerp still-life painter CLARA PEETERS, several attributions are disputed.
Pieter Claesz Still-life painting


Still-life
Still-life
Painting ID::  83952
   Date first half of 17th century Medium Oil on wood cjr
  Date first half of 17th century Medium Oil on wood cjr

 
 
   
      

Juriaen van Streeck

(1632 - 1687) was a Dutch Golden Age painter of still lifes. According to Houbraken, he was good at all sorts of still life subjects, including helmets, books, letters, musical instruments, and skulls or dead animals to indicate the transcience of life. He was a follower of Willem Kalf and influenced Barend van der Meer.Houbraken also wrote an entry for his son Hendrick van Streeck, who became a student of Emanuel de Witte and painted church interiors.
Juriaen van Streeck Still-Life painting


Still-Life
Still-Life
Painting ID::  84545
   Date after 1653(1653) Medium Oil on oak Dimensions Height: 54.5 cm (21.5 in). Width: 44 cm (17.3 in). cjr
  Date after 1653(1653) Medium Oil on oak Dimensions Height: 54.5 cm (21.5 in). Width: 44 cm (17.3 in). cjr

 
 
   
      

Frans Snyders

Belgian 1579-1657 Frans Snyders Gallery Frans Snyders (1579 - 1657), or Snijders, was a Flemish painter of animals and still life. Snyders was born and died at Antwerp. He is recorded as a student of Pieter Brueghel the Younger in 1593, and subsequently received instruction from Hendrick van Balen, the first master of Van Dyck. He was a friend of Van Dyck who painted Snyders and his wife more than once (Frick Collection, Kassel etc). He became a master of the Antwerp painters guild in 1602. He visited Italy in 1608-9, visiting Rome, and working for Cardinal Borromeo in Milan. In 1611 he married Margaretha, the sister of Cornelis de Vos and Paul de Vos (another animal painter), in Antwerp. Jan Fyt was a student, and then assistant of his from 1629. Snyders initially devoted himself to painting flowers, fruit and subjects of still life, but later turned to painting animals, and executed with the greatest skill and spirit hunting pieces and combats of wild animals. He was one of the earliest specialist animaliers. Snyders and his wife, by Van Dyck, KasselHis composition is rich and varied, his drawing correct and vigorous, his touch bold and thoroughly expressive of the different textures of furs and skins. His excellence in this department excited the admiration of Rubens, who frequently employed him to paint animals, fruit and still life in his own pictures, and he assisted Jacob Jordaens, Thomas Willeboirts Bosschaert and other artists in a similar manner. In the lion and boar hunts which bear the name of Snyders the hand of Rubens sometimes appears. He was one of the executors of Rubens's will. He was appointed principal painter to the Archduke Albert of Austria, governor of the Low Countries, for whom he executed some of his finest works. One of these, a Stag-Hunt was presented to Philip III of Spain, who together with his successor Philip IV of Spain, commissioned the artist to paint several subjects of the chase, which are still preserved in Spain. He also worked for Archduke Leopold Wilhelm of Austria, when he became Governor.
Frans Snyders Still-Life painting


Still-Life
Still-Life
Painting ID::  85181
   Date first half of 17th century Medium Oil on oak panel Dimensions Height: 125 cm (49.2 in). Width: 127 cm (50 in). cjr
  Date first half of 17th century Medium Oil on oak panel Dimensions Height: 125 cm (49.2 in). Width: 127 cm (50 in). cjr

 
 
   
      

Jacob van Es

Flemish Baroque Era Painter, 1596-1666 was a Flemish Baroque still life painter active in Antwerp. His restrained ontbijt (breakfast) pieces share many similarities to contemporaries Osias Beert and Clara Peeters, and typically show various foods on a sharply angled table in the foreground.
Jacob van Es Still-Life painting


Still-Life
Still-Life
Painting ID::  85866
   Date first half of 17th century Medium Oil on oak panel Dimensions Height: 19 cm (7.5 in). Width: 25 cm (9.8 in). cjr
  Date first half of 17th century Medium Oil on oak panel Dimensions Height: 19 cm (7.5 in). Width: 25 cm (9.8 in). cjr

 
 
   
      

Pieter Claesz

Dutch 1597-1660 Pieter Claesz Locations Dutch painter of German birth. He apparently spent his entire career in Haarlem, where he specialized in still-life paintings. Well over 100 works survive, dating from 1621 to 1660. Most of his pictures are dated and monogrammed PC. Since those initials were shared by the Antwerp still-life painter CLARA PEETERS, several attributions are disputed.
Pieter Claesz Still-life painting


Still-life
Still-life
Painting ID::  87803
   first half of 17th century Medium Oil on wood cyf
  first half of 17th century Medium Oil on wood cyf

 
 
   
      

Juriaen van Streeck

(1632 - 1687) was a Dutch Golden Age painter of still lifes. According to Houbraken, he was good at all sorts of still life subjects, including helmets, books, letters, musical instruments, and skulls or dead animals to indicate the transcience of life. He was a follower of Willem Kalf and influenced Barend van der Meer.Houbraken also wrote an entry for his son Hendrick van Streeck, who became a student of Emanuel de Witte and painted church interiors.
Juriaen van Streeck Still-Life painting


Still-Life
Still-Life
Painting ID::  88383
   after 1653(1653) Medium Oil on oak cyf
  after 1653(1653) Medium Oil on oak cyf

 
 
   
      

Willem Claesz Heda

1594-1682 Dutch Willem Claesz Heda Galleries Dutch painter. He was a still-life painter, who, like Pieter Claesz., is noted for his monochrome breakfast-pieces, which are, however, more opulent than those of Claesz. Heda earliest dated work is a Vanitas (1621; The Hague, Mus. Bredius), which shows a still-life from a high viewpoint, composed of various objects bearing vanitas associations (e.g. a bowl of glowing embers, smoker requisites, an overturned glass and a skull); the colouring is in brownish-grey tones and represents one of the earliest examples of a Dutch monochrome still-life (monochrome refers to the range of tones, rather than of colours). Even in this early work Heda skill at painting textures is evident. A more balanced composition is achieved in another Still-life (1629; The Hague, Mauritshuis) and in the Breakfast Table (1631; Dresden, Gemeldegal. Alte Meister), in both of which the objects, set against a neutral background, are linked by a strong diagonal. The Mauritshuis still-life also gives an early indication of Heda interest in painting the effects of light. In 1631 he became a member of the Haarlem Guild of St Luke (of which he served as deacon on several occasions after 1637).
Willem Claesz Heda Still-Life painting


Still-Life
Still-Life
Painting ID::  88806
   1632(1632) Medium Oil on oak panel cyf
  1632(1632) Medium Oil on oak panel cyf

 
 
   
      

Osias Beert

1580-1624 Flemish Osias Beert Galleries Flemish painter. In 1596 he went to study with Andries van Baseroo and in 1602 became a master in the Antwerp Guild of St Luke; these two dates suggest his probable date of birth. Beert married Marguerite Ykens on 8 January 1606. Contemporary documents describe him as a cork merchant. The esteem enjoyed by Beert is indicated by the large number of pupils he had, including, in 1610, Frans van der Borch; in 1615, Frans Ykens; in 1616, Paulus Pontius; and, in 1618, Jan Willemssen. Beerts son, Osias Beert the younger (1622-78), was also a painter and became a master in 1645.
Osias Beert Still-life painting


Still-life
Still-life
Painting ID::  88989
   first half of 17th century Medium oil on oak cyf
  first half of 17th century Medium oil on oak cyf

 
 
   
      

Frans Snyders

Belgian 1579-1657 Frans Snyders Gallery Frans Snyders (1579 - 1657), or Snijders, was a Flemish painter of animals and still life. Snyders was born and died at Antwerp. He is recorded as a student of Pieter Brueghel the Younger in 1593, and subsequently received instruction from Hendrick van Balen, the first master of Van Dyck. He was a friend of Van Dyck who painted Snyders and his wife more than once (Frick Collection, Kassel etc). He became a master of the Antwerp painters guild in 1602. He visited Italy in 1608-9, visiting Rome, and working for Cardinal Borromeo in Milan. In 1611 he married Margaretha, the sister of Cornelis de Vos and Paul de Vos (another animal painter), in Antwerp. Jan Fyt was a student, and then assistant of his from 1629. Snyders initially devoted himself to painting flowers, fruit and subjects of still life, but later turned to painting animals, and executed with the greatest skill and spirit hunting pieces and combats of wild animals. He was one of the earliest specialist animaliers. Snyders and his wife, by Van Dyck, KasselHis composition is rich and varied, his drawing correct and vigorous, his touch bold and thoroughly expressive of the different textures of furs and skins. His excellence in this department excited the admiration of Rubens, who frequently employed him to paint animals, fruit and still life in his own pictures, and he assisted Jacob Jordaens, Thomas Willeboirts Bosschaert and other artists in a similar manner. In the lion and boar hunts which bear the name of Snyders the hand of Rubens sometimes appears. He was one of the executors of Rubens's will. He was appointed principal painter to the Archduke Albert of Austria, governor of the Low Countries, for whom he executed some of his finest works. One of these, a Stag-Hunt was presented to Philip III of Spain, who together with his successor Philip IV of Spain, commissioned the artist to paint several subjects of the chase, which are still preserved in Spain. He also worked for Archduke Leopold Wilhelm of Austria, when he became Governor.
Frans Snyders Still-Life painting


Still-Life
Still-Life
Painting ID::  89492
   first half of 17th century Medium oil on oak panel cyf
  first half of 17th century Medium oil on oak panel cyf

 
 
   
      

Jan Davidz de Heem

1606-1684 Dutch Jan Davidz de Heem Galleries
Jan Davidz de Heem Still-Life painting


Still-Life
Still-Life
Painting ID::  89822
   1642(1642) Medium oil on oak cyf
  1642(1642) Medium oil on oak cyf

 
 
   
      

Jacob van Es

Flemish Baroque Era Painter, 1596-1666 was a Flemish Baroque still life painter active in Antwerp. His restrained ontbijt (breakfast) pieces share many similarities to contemporaries Osias Beert and Clara Peeters, and typically show various foods on a sharply angled table in the foreground.
Jacob van Es Still-Life painting


Still-Life
Still-Life
Painting ID::  90064
   first half of 17th century Medium oil on oak panel Dimensions Height: 19 cm (7.5 in). Width: 25 cm (9.8 in). cyf
  first half of 17th century Medium oil on oak panel Dimensions Height: 19 cm (7.5 in). Width: 25 cm (9.8 in). cyf

 
 
   
      

Floris van Dyck

, also called Floris van Dijck or Floris Claesz. van Dyck (Delft or Haarlem, c. 1575 - Haarlem, before 26 April 1651), was a Dutch Golden Age still life painter. He lived in Haarlem for most of his life, but he was born in Delft. He was a cousin of Pieter Cornelisz van Dijck. In 1600 he is documented as being in Rome, indicating he made a journey to Italy. In 1606 he returned to the Netherlands, where he joined the Haarlem Guild of St. Luke in 1610 and became dean in 1637. He was influenced by Osias Beert and Clara Peeters. He is considered the inventor of the banketje (banquet still life genre similar to breakfasts, or ontbijtjes), together with Nicolaes Gillis.
Floris van Dyck Still-Life painting


Still-Life
Still-Life
Painting ID::  91118
   1610(1610) Medium oil on oak panel cyf
  1610(1610) Medium oil on oak panel cyf

 
 
   
      

Willem Kalf

1619-1693 Dutch Willem Kalf Galleries Willem Kalf was born in Rotterdam, in 1619. He was previously thought to have been born in 1622, but H. E. van Gelder??s important archival research has established the painter??s correct place and date of birth. Kalf was born into a prosperous patrician family in Rotterdam, where his father, a cloth merchant, held municipal posts as well. In the late 1630s, Willem Kalf travelled to Paris and spent time in the circle of the Flemish artists in Saint-Germain-des-Pr??s, Paris. In Paris he painted mainly small-scale rustic interiors and still-lifes. Kalf??s rustic interiors are typically dominated by groups of vegetables, buckets, pots and pans, which he arranged as a still-life in the foreground (e.g. Kitchen Still-life, Dresden, Gemäldegal; Alte Meister). Figures usually appeared only in the blurred obscurity of the background. Though painted in Paris, those pictures belong to a pictorial tradition practised primarily in Flanders in the early 17th century, by such artists as David Teniers the Younger. The only indication of the French origin of the paintings are a few objects that Flemish exponents of the same genre would not have pictured in their works. Kalf??s rustic interiors had a large influence on French art in the circle of the Le Nain brothers. The semi-monochrome still-lifes which Kalf created in Paris form a link to the banketjes or 'little banquet pieces' painted by such Dutch artists as Pieter Claesz, Willem Claeszoon Heda and others in the 1630s. During the 1640s, Kalf further developed the banketje into a novel form of sumptuous and ornate still-life (known as pronkstilleven), depicting rich groupings of gold and silver vessels. Like other still-lifes of this period, these paintings were usually expressing vanitas allegories.
Willem Kalf Still-Life painting


Still-Life
Still-Life
Painting ID::  92519
   Date between 1653(1653) and 1654(1654) Medium oil on canvas Dimensions Height: 105 cm (41.3 in). Width: 88 cm (34.6 in). TTD
  Date between 1653(1653) and 1654(1654) Medium oil on canvas Dimensions Height: 105 cm (41.3 in). Width: 88 cm (34.6 in). TTD

 
 
   
      

Galizia,Fede

Fede Galizia (1578 - 1630) was an Italian Renaissance painter, a pioneer of the still life genre.
Galizia,Fede Still-Life painting


Still-Life
Still-Life
Painting ID::  92549
   1607 Oil on panel, 31 x 42 cm TTD
  1607 Oil on panel, 31 x 42 cm TTD

 
 
   
      

Galizia,Fede

Fede Galizia (1578 - 1630) was an Italian Renaissance painter, a pioneer of the still life genre.
Galizia,Fede Still-Life painting


Still-Life
Still-Life
Painting ID::  92550
   1610 Oil on panel, 29 x 41 cm TTD
  1610 Oil on panel, 29 x 41 cm TTD

 
 
   
      

Galizia,Fede

Fede Galizia (1578 - 1630) was an Italian Renaissance painter, a pioneer of the still life genre.
Galizia,Fede Still-Life painting


Still-Life
Still-Life
Painting ID::  92551
   1593 Oil on canvas, 30 x 41 cm TTD
  1593 Oil on canvas, 30 x 41 cm TTD

 
 
   
      

Galizia,Fede

Fede Galizia (1578 - 1630) was an Italian Renaissance painter, a pioneer of the still life genre.
Galizia,Fede Still-Life painting


Still-Life
Still-Life
Painting ID::  92552
   1610 Oil on panel, 31 x 43 cm TTD
  1610 Oil on panel, 31 x 43 cm TTD

 
 
   
      

Niko Pirosmanashvili

(born Niko Pirosmanashvili; May 5, 1862-1918) was a Georgian primitivist painter. Pirosmani was born in the Georgian village of Mirzaani to a pleasant family in the Kakheti province. His family owned a small vineyard. He was later orphaned and put in the care of his two elder sisters. He moved with them to Tbilisi in 1870. In 1872 he worked as a servant for wealthy families and learned to read and write Russian and Georgian. In 1876 he returned to Mirzaani and worked as a herdsman. Pirosmani gradually taught himself to paint. One of his specialties was painting directly into black oilcloth. In 1882 he opened a workshop in Tbilisi which was unsuccessful. In 1890 he worked as a railroad conductor, and in 1895 worked creating signboards. In 1893 he co-founded a dairy farm in Tbilisi which he left in 1901. Throughout his life Pirosmani, who was always poor, was willing to take up ordinary jobs including housepainting and whitewashing buildings. Although his paintings had some local popularity (about 200 survive) his relationship with professional artists remained uneasy; making a living was always more important to him than abstract aesthetics.
Niko Pirosmanashvili Still-Life painting


Still-Life
Still-Life
Painting ID::  93576
   Date 1900s Medium oil on tin-plate Dimensions 73 x 36 cm (28.7 x 14.2 in) TTD
  Date 1900s Medium oil on tin-plate Dimensions 73 x 36 cm (28.7 x 14.2 in) TTD

 
 
   
      
Niko Pirosmanashvili
(born Niko Pirosmanashvili; May 5, 1862-1918) was a Georgian primitivist painter. Pirosmani was born in the Georgian village of Mirzaani to a pleasant family in the Kakheti province. His family owned a small vineyard. He was later orphaned and put in the care of his two elder sisters. He moved with them to Tbilisi in 1870. In 1872 he worked as a servant for wealthy families and learned to read and write Russian and Georgian. In 1876 he returned to Mirzaani and worked as a herdsman. Pirosmani gradually taught himself to paint. One of his specialties was painting directly into black oilcloth. In 1882 he opened a workshop in Tbilisi which was unsuccessful. In 1890 he worked as a railroad conductor, and in 1895 worked creating signboards. In 1893 he co-founded a dairy farm in Tbilisi which he left in 1901. Throughout his life Pirosmani, who was always poor, was willing to take up ordinary jobs including housepainting and whitewashing buildings. Although his paintings had some local popularity (about 200 survive) his relationship with professional artists remained uneasy; making a living was always more important to him than abstract aesthetics.
Still-Life
Date 1900s Medium oil on tin-plate Dimensions 73 x 36 cm (28.7 x 14.2 in) TTD
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