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.

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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.