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Glass in Paintings Art

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Glass in Paintings Art GLGLASSASS ININ PPAINTINGSAINTINGS Dutch, Flemish and German still life by Sofia Jennifer Teodori Simon Luttichuys, oils on wood, 1650-1660 The period ranging between the beginning of the seventeenth and the end of the eighteenth centuries can be considered the “golden era” for paintings featuring everyday objects, vases, flowers, fruit… in other words, still life. This term was born around the end of the seventeenth century to give a name to a new means of figurative expression which was mainly developed in the Netherlands, where artists were commissioned to paint tableware and splendid vases by the nobility. Here we look into some of the most beautiful pieces by Dutch, Flemish and German artists of that period. It is notable how glass has a special place in many paintings, and how often the mastery of the painters could be judged by the way they managed to catch the lightness, transparency and fragility of the glass objects. ntroduction The refined style of Flemish painters. Many of the latter, and Dutch painters is Jan Davidz. commonly believed to be Three cultural areas are quite characterized by the intensity of de Heem, oils German, were in actual fact Isimilar from a stylistic point of on wood, the visual stimulus, the richness Flemish, and for religious view, and these include the of effects, the ability to capture 1640-1645 motives were refugees, whilst southern and northern regions and express the sophisticated others were their immediate of the Netherlands and the colours and plays of light on descendants (Binoit, Soreau, German areas that were mostly models. Dutch and Flemish Marrel, Mignon). Others had influenced by Flemish and masters also influenced the work come into direct contact with Dutch art. of German artists, and court Flemish travelling painters Glass Style 1/98 137 colours and the overall effect are its pureness and compositional such that it is impossible not to freshness, so in painting, the see the superiority of the real originals show the full expressive masters. Often, confusion arises ability of the artist, with a much due to the fact that pupils were stronger effect than a copy could actually encouraged to copy ever achieve. And this is true their teachers, so as to learn although centuries may divide us their style and technique: at from the production of these times, the hand of the master masterpieces, and time may have can be recognized only in withered the canvas and faded or had studied in Holland. certain details of the paintings, the colours. The author’s Mattheus But let’s consider the origins where he corrected his student message still comes through to Whitmans, of this kind of painting. Why oils on wood, or helped him resolve a feature us. would artists want to paint still 1670 - 1680 of the work. Some relatively unknown life? A text by Bergström says Details. The real secret lies painters are also mentioned that various artists slowly started here. The master’s brush picks here, especially those who to extract common, everyday out the contrast between the reached considerable results in symbolic objects that used to various elements with great painting glass objects, such as (and still do) accompany fluidity (see painting by Simon Luttichuys, with his still religious functions, to give these Mattheus Wytmans - note the life painted in oils on wood, articles a self-sufficient role, as style of the extremely wide- produced between 1650 and symbolic still life. However, in rimmed goblet), and the coming 1660: a superb example of glass late medieval times, artists were together of the various single in painting. forced to follow certain elements which make up the theological themes, such as for painting into a frescoes and altars: the still life sole suggestive they painted was always whole makes it consistent with the religious possible to feel topic in question. the immediacy Slowly, many artists started and real turning away from religious intention of the subjects and, on commission, work. This is began to create more decorative what pieces, which were intended for distinguishes homes. Glass objects such as the original vases, glasses and carafes were from the copy - among these. A large number of just like in painters dedicated their entire music the lives to the art of still life. composer’s Great artists such as Daniel original score Snyders, de Heem, Pieter Claesz Seghers, oils should be and Kalf were often copied by on copper, perceived in all their pupils, and through the before 1637 centuries many paintings which had been considered original were then revealed as mere reproductions made by skillful students. But when closely examined and compared to the originals, the difference in texture, the use of light and 138 Glass Style 1/98 Flemish masters Starting around the end of the 1500s, What is surprising about the in the Flanders there works of Flemish masters - and was a growing amongst the first we find Pier interest in collecting Paul Rubens, one of the greatest works featuring baroque artists of all time (who, flower compositions however, found his main arranged in vases, inspiration in portraits and animals, seashells; in religious themes), Jordaens, short, in Snyders and Fyt - is their representations of spontaneousness, and the nature. The subjects freshness of their pictorial style. were grouped What’s notable in their paintings together in series, is the chromatic disposition of according to the kind the brush-strokes and the of objects fluidity of the oil paints; these represented, the seasons or page, we can see a masterpiece are almost self-sufficient other criteria. There started to painted on copper by a member elements. The apparent Ambrosius be numerous requests from of the Jesuit Order, Daniel casualness of a light shining Bosschaert courts and nobility for this kind Seghers, who was a pupil of the from the side and a streaked the Young, of painting, which was famous Jan Brueghel the Old. brush-stroke give the oils on wood, continued in the 1600s by many 1635-1640 The painting is signed, and is composition a sense of motion, Flemish masters who made estimated to have been produced and create a great sense of detailed reproductions of the before 1637. This painting was spontaneity. The usually low, natural world. As mentioned copied by Willem van Haecht, close perspective, and the before, the painting of tableware, and is an excellent example of accentuated contrasts strengthen fruit, flowers, etc. began in the importance of details. The the general impression of religious settings; in the same simplicity of the glass vase is transience, of casualness. painting featuring made precious by the way the a Madonna and author catches the light Gerrit reflections with tiny brushstrokes angels, at a certain Willemsz, oils point objects of on wood, (see close-up). The clean everyday use, or 1644 transparency of the vase reveals decorative the stillness of the water and the elements began to different hues of green in the appear. Many stems and leaves. The chromatic studios would gradations of the flowers are simultaneously be enhanced by the very dark working for background, a recurring churches and for characteristic of this artist’s private collectors. paintings. Authors such as The latter would Veerendael, Ykense and de hang the Heem followed Seghers’ models, masterpieces in with very decorative works of their dining rooms various kinds, which gradually to be admired by give up any symbolic references their guests, and to to theology or cosmology, to be give a sense of transformed into sumptuous festivity to their signs of festivity, with reunions. prevailingly aesthetic themes. On the previous We can appreciate how Glass Style 1/98 139 Gillit Jacobsz van Hulsdonck, oils on wood, 1645 - 1650 hunting scenes, great, beyond the frame itself, showing elaborate plates of food, the limits of visual experience. marketplaces and kitchens. A We can only imagine what lies growing number of painters beyond the frame line. specialized in these themes, since they were more and 17th century more requested by princes and paintings in the nobility; many of their northern Holland private collections have reached us. In these works, we Slowly, painters started to find a systematic order of the become more independent, and represented animals and fruit, did not work only on always shown in some sort of commission anymore, or on cycle. For example, the particular themes which were set animals were grouped into a “cycle” pattern. Yet, for according to species, such as many years, artists in the North fish, birds or terrestrial of the Netherlands had a marked creatures. It is thus very clear preference for the representation de Heem captures the beauty why still life painting was so of vases of flowers or banquets, and delicacy of the wine glass, popular: princes and courts for instance. This was especially the painting on page 137, which received hundreds of guests at a due to the fact that buyers were is an example of the tableware time, and liked to show off their mostly interested in this kind of style in vogue in the Flanders splendour and power not only art. Often, the interest of the between 1640-1645. The same through their generosity at the people buying the paintings was Floris Claesz kind of translucent light dances table, but also with the beauty of restricted to a single subject, a van Dyck, oils off the multicoloured grapes. their surroundings, which had to sole figurative element. on wood, Other sources of inspiration The contemporaries of artists 1613 reflect their everyday lifestyle. for still life painting were game, The paintings of still life were such as Jan Brueghel and not only meant for big dining rooms, though; they were commissioned for Jan Jansz van galleries and long, der Velde, oils illuminated castle on canvas, corridors.
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