DOCSLIB.ORG

BALTHASAR VAN DER AST (Middelburg 1593/94 – 1657 Delft)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
BALTHASAR VAN DER AST (Middelburg 1593/94 – 1657 Delft) VP4711 BALTHASAR VAN DER AST (Middelburg 1593/94 – 1657 Delft) A Still Life of Tulips and other Flowers in a ceramic Vase Signed and dated, lower right: . B . VandeR . ast. 1625 On panel, 16 x 10⅞ ins. (40.8 x 27.6 cm) PROVENANCE Private collection, Belgium, since circa 1900 From where recently acquired by the previous owner Note: We are grateful to Fred G. Meijer of the RKD in The Hague for endorsing the attribution following first-hand inspection. This previously unrecorded painting is a major addition to the oeuvre of Balthasar van der Ast, one of the greatest flower painters of the Dutch Golden Age. Preserved in a private Belgian collection since the beginning of the last century, it only came to light recently and therefore escaped the attention of modern scholars. Beautifully signed and dated 1625, it is a fine and characteristic example of a floral still life from the artist’s early maturity. A simple arrangement of striped tulips and a snowy-white rose appears in a gilt-mounted, Chinese Wan-Li porcelain vase, standing on a table. Sprays of forget-me-nots and lilies-of-the-valley are interspersed among the larger, showy blooms. A single stem of scarlet pimpernel lies on the tabletop. The bouquet is enlivened by the presence of a wasp, a damsel fly, a Painted Lady butterfly and a sand lizard. The predominantly red and white blooms emerge boldly from the dark background. Shadows cast by the wasp on the tabletop and other illusionistic details such as the glistening drops of water and the claws of the lizard, curled over part of the signature, add to the picture’s tactile appeal. The art of Balthasar van der Ast is neatly summarised in words of the Amsterdam doctor and art lover Jan Sysmus: “In flowers, shells and lizards, beautiful” i. Born in Middelburg, van der Ast was taught the art of floral painting by his brother-in-law Ambrosius Bosschaert I (1573- 1621), the founder of a dynasty of flower painters. In 1615, he followed Bosschaert to Bergen-op-Zoom and then to Utrecht, where he became a member of the painters’ guild in 1619, the same year as Roelandt Savery (1578-1639). Bosschaert died suddenly in 1621, but van der Ast remained in Utrecht until 1632, when he moved permanently to Delft. A highly successful and productive artist, van der Ast left a substantial oeuvre, ranging from large canvases to very small coppers and panels. Besides his flower pieces, he produced still lifes of fruit and shells and more complex compositions in which these elements are combined. In his work, van der Ast built on the achievements of his predecessors, whilst introducing innovations of his own. As the tutor of Bosschaert’s three sons, and also possibly of Jan Davidsz. de Heem, he provides an important link between the first and second phases of seventeenth-century Dutch flower painting. Van der Ast painted this vase of flowers in Utrecht during the most prolific phase of his career. It also happens to be the best documented period of his activity, as he regularly dated his works up to 1625, but seems to have virtually abandoned the practice after 1626. During the early to mid-1620s, he remained strongly under the influence of his teacher, but at the same time found inspiration in the work of Roelandt Savery. A contemporary of Bosschaert’s and an important pioneer of flower painting, Savery settled in Utrecht in 1618, after a lengthy sojourn at the imperial court in Prague. His floral still life of 1603 (private American collectionii), painted either in Amsterdam or Prague, is the earliest surviving example of the genre by a Dutch or Flemish painter. In van der Ast’s work, it may truly be said that the traditions of Bosschaert and Savery are merged. Here, for example, the formula of a symmetrically arranged bouquet of flowers in a small porcelain vase is clearly derived from Bosschaert, but in its looser, more naturalistic arrangement, softer line and more subdued palette, it takes its cue from Savery. In van der Ast’s still life, air seems to flow freely among the flowers and stems and subtle gradations of light and dark enhance the impression of depth and volume. The inclusion here of insects and a reptile is another feature that reflects the influence of Savery, whose still lifes are invariably filled with little creatures that creep and crawl. Despite the convincing and naturalistic appearance of van der Ast’s bouquet, all the indications are that he did not paint directly from an arrangement of flowers set before him on a table. Rather, he would have worked from a repertory of drawings or watercolour studies of individual specimens taken from life whilst developing his composition for the much more time-consuming medium of oil paint. One of the consequences of this practice is the oft-remarked-upon phenomenon of flowers from different seasons of the year appearing together in the same bouquet, and another is the repetition of certain motifs in more than one painting. In this painting, for instance, the sand lizard, with its curving pose, and the Painted Lady butterfly, with its wings slightly parted, may also be found in a larger still life, dated 1625, depicting a bowl of fruit and a vase of flowers, which was sold at auction on 12 July, 2001iii. Also, the red and white tulip, which extends vertically at the upper centre of the design, with one petal falling to the right, recurs in the artist’s still life from the same year in the Anhaltische Gemäldegalerie, Schloss Georgium, Dessau (inv. No. 425). Balthasar van der Ast was born in Middelburg around 1593 or 1594, but was orphaned when his father Hans van der Ast died in 1609. Subsequently, he entered the household of his sister, Maria, and his much older brother-in-law, the artist Ambrosius Bosschaert the Elder. Van der Ast became Bosschaert’s pupil and moved with the Bosschaert family first to Bergen- op-Zoom, where they are recorded in 1615, and then to Utrecht in the following year. His earliest known dated paintings are from 1617, two years before he became a member of the Guild in Utrecht. He remained there until 1632 when he moved to Delft, enrolling in the painters’ Guild on 22 June that year. The following year, he married Margrieta Jans van Bueren and the couple had two daughters. He died in 1657 and was buried in the Oude Kerk in Delft. P.M. i Dr. A. Bredius, Het Schildersregister van Jan Sysmus, Oud-Holland, VIII, 1890, p. 4. ii Roelandt Savery, Flowers in a Vase, dated 1603, on copper, 29 x 19 cm, private collection, U.S.A. iii Balthasar van der Ast, A Still Life of Fruit with a Vase of Flowers, signed and dated 1625, on panel, 44.2 x 76.8 cm, Sotheby’s, London, 12 July 2001, lot 41. .
Load more

Recommended publications
  • ABRAHAM BOSSCHAERT (Middelburg 1612/13 – 1643 Utrecht)
    CS0253 ABRAHAM BOSSCHAERT (Middelburg 1612/13 – 1643 Utrecht) A Still Life of Flowers laid on a Table Signed on the front edge of the table, lower right: ABosschaert On panel, 10 x 12⅝ ins. (25.5 x 32 cm) PROVENANCE Sale, Sotheby’s, London, 16 March 1966, lot 60, where bought by H. Terry-Engell Gallery, London, 1966 Gebr. Douwes, Amsterdam, 1967 Sale, Amsterdam (Paul Brandt), 20-23 May 1969, lot 3 (illustrated in colour) Kunsthandel P. de Boer, Amsterdam, September 1986 Richard Green, London P. Hoogendijk, Baarn, 1987 Private collection, the Netherlands, until 2014 EXHIBITED London, Terry Engell Gallery, Winter Exhibition, 1966-67, no. II, illustrated Delft, Oude Kunst en Antiekbeurs (Douwes), 1967, (illustrated in guide) Delt, Oude Kunst en Antiekbeurs (Hoogendijk), 1986 Maastricht, Pictura Fine Art Fair (Hoogendijk), 1987, p. 156, (illustrated in colour) LITERATURE Masters of Middelburg: exhibition in honour of Laurens J. Bol, exh. cat. by Sam Segal et. al., Kunsthandel K. & V. Waterman, B.V., Amsterdam, March 1984, p. 75, cat. no. 23 (illustrated) E. Gemar-Koeltzsch, et. al., Holländische Stillebenmaler im 17. Jahrhundert, Lingen, 1995, vol. I, p. 158, no. 50/1 NARRATIVE This still life by Abraham Bosschaert depicts a few cut flowers lying casually on a wooden table. They do not appear to be arranged in any formal sense, rather one gets the impression that they have just been freshly picked and brought indoors. A yellow iris, a red and white striped carnation and a yellow and red flamed tulip, together with a sprig of forget-me-nots, comprise this intimate floral display.
    [Show full text]
  • DALMI WORKING PAPERS on ART & MARKETS the Artistic Migration
    DALMI Working Paper No. 15231 DALMI WORKING PAPERS ON ART & MARKETS The Artistic Migration Between Mechelen and Delft (1550–1625) Fiene Leunissen Working Paper no. 15231 https://www.dukedalmi.org/wp-content/uploads/15231-Working-Paper.pdf DUKE ART, LAW & MARKETS INITIATIVE 114 S. Buchanan Blvd. Campus Box 90766 Durham, NC 27708 May 2015 DALMI working papers are circulated for discussion and comment purposes. They have not been peer-reviewed. © 2015 by Fiene Leunissen. All rights reserved. Leunissen May 2015 DALMI Working Paper No. 15231 The Artistic Migration Between Mechelen and Delft (1550–1625) Fiene Leunissen DALMI Working Paper No. 15231 May 2015 ABSTRACT Mechelen (Malines) is a small city in present-day Belgium, positioned between Antwerp and Brussels, along the river the Dijle. While most people today have never heard anything about this city or its history, this small town was once one of the most important cities in the Low Countries. It was also hub for the production of watercolor paintings. During the religious turmoil in the second half of the 16th century a large portion of artists fled the city to find a better life in other European cities. One of these places was Delft, were a group of 24 Mechelen artists settled. In this paper we look at the lives of these artists to better understand the knowledge circulation between the north and the south at the turn of the 17th century. Keywords: Art Markets, Mechelen, Delft, Seventeenth Century JEL: Z11 Leunissen May 2015 DALMI Working Paper No. 15231 Leunissen May 2015 DALMI Working Paper No.
    [Show full text]
  • Still Life of Flowers in a Vase. Oil on Copper, 23.6 X 17.1 Cm
    Balthasar van der Ast (Middelburg ca.1593 - Delft 1657) Still life of Flowers in a Vase. Oil on Copper, 23.6 x 17.1 cm Signed and dated lower left: B. vander. Ast. 1622 Delicate little painting, masterpiece of balance and harmony, this vase of flowers of Balthasar van der Ast moves us at the same time by its richness and its simplicity. The speech is that of humility, before the creations of the Almighty. This composition is an invitation to wisdom and contemplation of both the simplest and the most beautiful things, it gives us the effect of a mirror and returns us to our own and fragile destiny, thus inciting us to more humility. Balthasar van der Ast ranks among the most brilliant pupils of Ambrosius Bosschaert the Elder, whom he marries his sister, and who was the first great painter of still lifes and flowers of the modern Netherlands. Born in Middelburg, he settled for a time in Utrecht from 1619 before settling in Delft in 1632, a city in which he remained active until his death in 1657. He remained faithful to the manner of his brother-in-law in the early part of his career, about the mid-1620s, sometimes drawing inspiration from the details of small insects or lizards from Roelandt Savery, who returned from Prague and settled like him in Utrecht in the 1620s. The originality of our painting lies in the presence of two elements of very great prices in Holland in the seventeenth century: the tulip and the shell. Coming from Constantinople, the tulip made its entry into Holland at the end of the 16th century, where it enjoyed an immediate success, reinforced in the 17th century by the development of horticulture.
    [Show full text]
  • 'Secret of Trade': Snails and Shells of Land Molluscs
    B2015-13:Basteria-2015 11/20/2015 3:08 PM Page 81 From a ‘domestic commodity ’ to a ‘secret of trade ’: snails and shells of land molluscs in early (mainly 16 th and 17 th century) visual arts Abraham S.H. Breure Naturalis Biodiversity Center, P.O.Box 9517, NL -2300 RA Leiden, The Netherlands ; Royal Belgian Institute of Natural Sciences, Vautierstraat 29, B-1000 Brussels, Belgium; [email protected] Susanne R. de Heer Himalaya 222, 3524 XK Utrecht, The Netherlands ; [email protected] mussels) and very peculiar ones (e.g., Nautilus shells). Species of land snails and slugs may be found on The remaining ones are mainly tropical sea shells, 81 paintings and other works of visual arts from the late usually species from the Indo-Pacific area. In general, 15 th century onwards. While in the beginning the illus - these are paintings in which shells are combined with trations were often imprecise, this changed in the late a variety of objects; however, some paintings are a 16 th century and most species were realistically illus - still-life of only these shells (e.g. Meijer, 2006: 100– 101, trated. This was especially so during the 17 th century, figs 18 –21; Sch ütz, 2002: 107). An exhibition of visual when still-life painting including one or more snails arts with shells as main topic is a rare exception became well developed in Flanders and the Nether - (Woldbye & von Meyenburg, 1984; Barten, 1985). lands. We have checked 582 works of art, the majority However, with a keen eye one can discover specimens showing European species, of which five related to of land snail species in a number of visual art works, slugs; 45 of these works have one or more species mainly in the still-life genre from the 17 th century.
    [Show full text]
  • AMBROSIUS BOSSCHAERT the Younger (Arnemuiden 1609 – 1645 Utrecht)
    VP4943 AMBROSIUS BOSSCHAERT the Younger (Arnemuiden 1609 – 1645 Utrecht) A Still Life of a Vase of Flowers and a Basket of Fruit In a Niche Signed, lower right: A. Bosschaert fecit Oil on panel, 14⅞ x 18½ ins. (35.8 x 46.8 cm) PROVENANCE With Cord Heinrich Schwagermann, Schiedam, circa 1935 Lady Hollenden, until 1978 Sale, Sotheby’s, London, 12 April 1978, lot 15 With Alexander Gallery, London, 1979 The La Jolla Museum of Contemporary Art, California, U.S.A. Sale, Christie, Manson & Woods, New York, 19 January, 1982, lot 87 With Noortman & Brod, London, Maastricht & New York, 1982 Private collection,Germany, 1982-2009 With Johnny Van Haeften Limited, London, 2009 Private collection, Italy, 2011-2020 EXHIBITED Dutch and Flemish Old Master Paintings: Catalogue Seventeen, Johnny Van Haeften Limited, London, 2009, cat. no. 4. LITERATURE L. J. Bol, The Bosschaert Dynasty: Painters of Flowers and Fruit, 1960, p. 96, no. 30 A still life of flowers and fruit appears on a ledge before a niche. On the left, arranged in a simple glass vase, is a small bouquet, comprising two striped tulips, a couple of pink roses, a rosebud, a lily, aquilegias and a yellow daisy: the globular shape of the container provides a satisfying sense of weight that balances the heavy-headed blooms. A fallen petal lies close to the edge of the ledge. On the right, is a wicker basket containing a profusion of red and yellow cherries, plums, pears and black- and white-currants. The basket is tilted forward, causing some of its contents to spill out onto the ledge.
    [Show full text]
  • Basket of Fruits C
    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century Balthasar van der Ast Dutch, 1593/1594 - 1657 Basket of Fruits c. 1622 oil on panel painted surface: 18.1 x 22.8 cm (7 1/8 x 9 in.) overall (with additions): 18.8 x 23.5 cm (7 3/8 x 9 1/4 in.) framed: 38.4 x 43.8 x 3.2 cm (15 1/8 x 17 1/4 x 1 1/4 in.) Inscription: lower right: .B.vander.ast... Collection of Mrs. Paul Mellon 1992.51.1 ENTRY By the early 1630s, the Prince of Orange, Frederik Hendrik, and his wife, Amalia van Solms, had formed an important collection of contemporary Dutch and Flemish paintings. Their taste led them to collect mythological and allegorical paintings as well as princely portraits. The inventory of their possessions made in 1632 lists only four still lifes, two of which hung in a small room belonging to the princess that also contained two allegorical paintings attributed to Sir Peter Paul Rubens (Flemish, 1577 - 1640) and a portrait of Amalia van Solms by Rembrandt van Rijn (Dutch, 1606 - 1669). As described in the inventory, the still lifes were “two small paintings in ebony frames, one a basket with fruit and the other a basket with flowers, by Van der Ast.”[1] These two paintings must be Basket of Fruits and Basket of Flowers, one of the rare sets of companion pieces created by this early seventeenth-century master.[2] While it is not known when or how Van der Ast’s paintings were acquired by Amalia van Solms, their existence in the princely collection indicates the esteem in which this artist was held
    [Show full text]
  • A Quest for Beauty and Meaning
    The Flourishing of Truth and Beauty Dutch seventeenth-century still-life painting in its socio-historical context - RMA thesis- Full name: Eva Tjitske Jansen Student number: 3354385 Date and place of birth: 21-04-1990, Arnhem Institution: Utrecht University; Faculty of Humanities Research master ‘Art History of the Low Countries in its European context’ Deadline: August 2013 Supervisor: Prof. dr. Peter Hecht Second reader: Drs. Hilbert Lootsma Department of History and Art History 1 CONTENTS Introduction p. 3 I Still-life painting around 1620 1.1. The main types of still life 1.1.1 Flower and fruit pieces…………………………………………………… p. 6 1.1.2 Breakfast- and banquet pieces……………………………………….. p. 8 1.1.3 Vanitas pieces…………………………………………………………………. P. 9 1.2. Socio-historical context 1.2.1 Historical introduction: politics and economics……………….. p. 11 1.2.2 The contemporary conception of art………………………………. p. 12 1.2.3 The contemporary art market………………………………………… p. 14 1.2.4 Interior fashions…………………………………………………………….. p. 16 1.3. Conclusion…………………………………………………………………………………… p. 17 II Still-life painting around 1650 2.1. The main types of still life 2.1.1 Flower and fruit pieces…………………………………………………… p. 19 2.1.2 Pronkstillevens……………………………………………………………….. p. 21 2.1.3 Vanitas pieces…………………………………………………………………. p. 24 2.1.4 Game pieces…………………………………………………………………… p. 25 2.1.5 Trompe l’oeil pieces……………………………………………………….. p. 26 2.1.6. Fish pieces……………………………………………………………………… p. 28 2.2. Socio-historical context 2.2.1 Historical introduction: politics and economics……………… p. 29 2.2.2 The contemporary conception of art…………………………….. p. 31 2.2.3 The contemporary art market………………………………………… p. 33 2.2.4 Interior fashions……………………………………………………………… p.
    [Show full text]
  • BALTHASAR VAN DER AST (Middelburg 1593/4 – 1656 Delft)
    CS0323 BALTHASAR VAN DER AST (Middelburg 1593/4 – 1656 Delft) A Still Life of Flowers in a wicker Basket on a stone Ledge Signed and dated, lower right: B. vander. Ast. 1623 On panel, 8⅞ x 12⅝ ins. (22.7 x 32.2 cm) PROVENANCE Private Collection, New Zealand Anon. sale, Phillips, London, 4 July 2000, lot 53 With Johnny Van Haeften Limited, London, 2000 Private Collection, Spain, 2000-2017 This composition is one of several works in the 1620’s by Balthasar van der Ast that illustrate the artist’s transformation of the floral still life. Brother-in-law and pupil of Ambrosius Bosschaert the Elder, Van der Ast used the techniques of the older painter to achieve a dramatically different effect. Indeed, Basket of Flowers was painted in Utrecht two years after Bosschaert’s death and is a beautiful example of the younger painter’s innovations, primary among them his approach to composition. The formality of Bosschaert’s compositions, frontal in orientation and carefully arranged to best display the characteristics of each individual blossom, gives way in Van der Ast’s work to a loose, more freely flowing arrangement that captures the experience of flowers in nature. Van der Ast’s combination of Bosschaert’s naturalism and Roelandt Savery’s exoticism has been called “the embodiment of Dutch and Flemish flower painting from the first half of the seventeenth century.”i This painting, dated 1623, depicts a basket filled with freshly cut flowers sitting on a stone ledge. Irises, roses, variegated tulips, and a single carnation define the gentle horizontal movement of the arrangement.
    [Show full text]
  • THE EXOTIC GIFT and the ART of the SEVENTEENTH-CENTURY DUTCH REPUBLIC By
    THE EXOTIC GIFT AND THE ART OF THE SEVENTEENTH-CENTURY DUTCH REPUBLIC By ©2013 ELLEN O’NEIL RIFE Submitted to the graduate degree program in Art History and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson Linda Stone-Ferrier, Ph.D. ________________________________ Sally J. Cornelison, Ph.D. ________________________________ Stephen H. Goddard, Ph.D. ________________________________ Amy McNair, Ph.D. ________________________________ William D. Keel, Ph.D. Date Defended: 4/9/2013 The Dissertation Committee for Ellen O’Neil Rife certifies that this is the approved version of the following dissertation: THE EXOTIC GIFT AND THE ART OF THE SEVENTEENTH-CENTURY DUTCH REPUBLIC ________________________________ Chairperson Linda Stone-Ferrier, Ph.D. Date approved: 4/9/2013 ii Abstract This dissertation examines the intersection between art and the gifting of exotic objects in the seventeenth-century United Provinces, directing attention to a special class of imagery visualizing the remarkable extent to which Europe’s first consumer culture became intertwined with foreign goods and influences. Its four chapters present representative case studies encompassing a range of media, including prints and paintings, and artistic genres, such as still life, portraiture, landscape, and allegory, from the mid- through the late- seventeenth century. These episodes of exotic gift exchange and their manifestation in art belonged to public and private spheres, the gifting of men and women, and multiple classes of society. In analyzing these images, my methodology draws on close readings; socioeconomic, historical, pictorial, and cultural contexts; gender; and issues in gift theory, including reciprocity, identity, personalization, and commodity/gift status, to explore the pictures’ meanings or functions for their audiences.
    [Show full text]
  • Dutch and Flemish Art: the Golden Age
    Dutch and Flemish Art: The Golden Age The Library of Walter A. Liedtke Curator of European Paintings at the Metropolitan Museum of Art Part I: Dutch and Flemish Art Part II: European Art 2118 titles in circa 2300 volumes From Wikipedia, the free encyclopedia Walter Liedtke Walter Liedtke Walter Arthur Liedtke, Jr. Born August 28, 1945 Newark, New Jersey US February 3, 2015 (aged 69) Died Valhalla, New York US Residence Bedford Hills, New York Nationality United States Occupation Art historian, writer, curator Years active 1974–2015 Walter Arthur Liedtke, Jr. (August 28, 1945 – February 3, 2015) [1] was an American art historian , writer and Curator of Dutch and Flemish Paintings at the Metropolitan Museum of Art .[2] He was known as one of the world's leading scholars of Dutch and Flemish paintings. [1] He died in the 2015 Metro-North Valhalla train crash .[3] Early life Liedtke was born in Newark, New Jersey ,[4] and grew up in Livingston, New Jersey .[4] Liedtke studied Art History , receiving a Bachelor of Arts degree in 1967 from Rutgers University in New Brunswick, New Jersey , a Master of Arts degree in 1969 at Brown University in Providence, Rhode Island. [5] Liedtke said that his interest in Dutch paintings began because he was focused on images as a child from hours and hours of watching a lot of TV. [6] He described his aesthetic as that of having a focus on how he responded to visual patterns compared to a more typical perspective focused on story and narratives. [6] Career Academia Liedtke planned on a career in academia.
    [Show full text]
  • Dutch Golden Age Painting 1 Dutch Golden Age Painting
    Dutch Golden Age painting 1 Dutch Golden Age painting Dutch Golden Age painting is the painting of the Dutch Golden Age, a period in Dutch history generally spanning the 17th century,[1] during and after the later part of the Eighty Years War (1568–1648) for Dutch independence. The new Dutch Republic was the most prosperous nation in Europe, and led European trade, science, and art. The northern Netherlandish provinces that made up the new state had traditionally been less important artistic centres than cities in Flanders in the south, and the upheavals and large-scale transfers of population of the war, and the sharp break with the old monarchist and Catholic cultural traditions, meant that Dutch art needed to reinvent itself entirely, a task in which it was very largely successful. Although Dutch painting of the Golden Age comes in the general European period of Baroque painting, and often shows many of Johannes Vermeer, The Milkmaid (1658–1660) its characteristics, most lacks the idealization and love of splendour typical of much Baroque work, including that of neighbouring Flanders. Most work, including that for which the period is best known, reflects the traditions of detailed realism inherited from Early Netherlandish painting. A distinctive feature of the period is the proliferation of distinct genres of paintings, with the majority of artists producing the bulk of their work within one of these. The full development of this specialization is seen from the late 1620s, and the period from then until the French invasion of 1672 is the core of Golden Age painting.
    [Show full text]
  • Jan Davidsz. De Heem 1606-1684
    UvA-DARE (Digital Academic Repository) Jan Davidsz. de Heem 1606-1684 Meijer, F.G. Publication date 2016 Document Version Final published version Link to publication Citation for published version (APA): Meijer, F. G. (2016). Jan Davidsz. de Heem 1606-1684. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:03 Oct 2021 3 Utrecht, Leiden, and Amsterdam. Jan Davidsz. de Heem’s early Dutch period.* Still-life painting in the Netherlands before Jan Davidsz. de Heem In order to understand the backgrounds against which Jan Davidsz. de Heem started out as a still-life painter, it is appropriate to have a brief look at the development of this genre in the Netherlands before 1626, from which year de Heem’s first extant works stem.
    [Show full text]