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About still lifes, color and variety

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Nachdem viele Besucher des Amsterdamer Rijksmuseums Rembrandts Gemälde bewundert haben, werfen sie immer einen Blick auf die berühmten niederländischen Stillleben aus dem 17. Jahrhundert (Show) in all ihrer Farbe und Vielfalt. Der damalige Künstler muss über viel Fachwissen verfügen, um eine Vielzahl von Objekten einzeln und so „real“ wie möglich zu präsentieren und andererseits eine attraktive und ausgewogene Komposition von Farben, Formen und Materialien zu erzielen. Er musste auch in der Lage sein, das Licht auf jedem Objekt einzeln darzustellen und alle Arten von Materialien und Oberflächen darzustellen: feuchte Trauben, samtige Pfirsiche, rohe glänzende Granatäpfel und tiefrote Erdbeeren mit ihren leicht versunkenen Samen sowie Porzellanvasen, Keramik und Silbergeschirr, Brokatteppiche, Glaswaren und Zinn; Je unterschiedlicher der materielle Ausdruck ist, desto herausfordernder ist er und desto mehr Wertschätzung erhält der Maler. Der Kunde lässt das Gemälde seinen Reichtum zeigen: Der mehr als üppig gefüllte Tisch und das schöne und oft teure Interieur werden der Außenwelt als Zeichen des Status gezeigt. Heute spielt auch die Symbolik der abgebildeten Objekte eine große Rolle: Als eine Art Warnung an den Kunden stellen die Künstler die Vergänglichkeit des Lebens dar, indem sie unter anderem Früchte und Blumen in Stillleben verwenden (die bald umgekommen sein werden) …).

Gabriël Henriques de Castro | A still life with flowers and a bird's nest, oil on canvas, 55.9 x 44.2 cm, signed l.l. and dated 1837

Gabriël Henriques de Castro

painting • for sale

A still life with flowers and a bird's nest, 1837

Olympe Mouette Génin | A still life with peaches, an amphora and a bird, oil on canvas, 49.0 x 39.9 cm, signed l.r. and dated 1818

Olympe Mouette Génin

painting • for sale

A still life with peaches, an amphora and a bird, 1818

Johannes Cornelis de Bruyn | Grapes, peaches and other fruit on a stone ledge, oil on panel, 42.6 x 32.6 cm

Johannes Cornelis de Bruyn

painting • for sale

Grapes, peaches and other fruit on a stone ledge

In den folgenden Jahrhunderten erweiterte sich das Genre weiter mit neuen Themen und neben dem Prunkstillleben beispielsweise dem (See-) Bankett, dem Jagdstück, dem Vanitas-Stillleben, dem Esstisch und dem sogenannten “Toebackje” (Stillleben von Pfeifen und anderen Rauchartikeln). Es werden immer mehr Varianten in verschiedenen Stilen und Bewegungen hinzugefügt: in impressionistischen losen Schlüsseln, kubistischen Formen und expressionistischen Farbspritzern – Kunstformen, bei denen die exakte Ähnlichkeit der individuellen Erfahrung des Künstlers untergeordnet ist. Darüber hinaus sehen wir die genaue Wirkung wieder, aber jetzt im Realismus des 20. Jahrhunderts.

Eugène-Henri Cauchois | A still life with oysters, oil on canvas, 38.1 x 46.0 cm, signed l.r.

Eugène-Henri Cauchois

painting • for sale

A still life with oysters

Alex Denonne | A still life with red gurnard, oil on canvas, 60.1 x 70.0 cm, signed u.r.

Alex Denonne

painting • for sale

A still life with red gurnard

Simon van Gelderen | Still life with Champagne, shellfish and fruit, oil on canvas, 50.3 x 60.2 cm, signed l.r.

Simon van Gelderen

painting • for sale

Still life with Champagne, shellfish and fruit

George Mosson | A still life with Dom Bénédictine liqueur, bottles and glasses, oil on canvas, 54.7 x 63.1 cm, signed l.l. and dated '19

George Mosson

painting • for sale

A still life with Dom Bénédictine liqueur, bottles and glasses, 1919

Still lifes do not speak

When Impressionism gives the artist more freedom to portray, the diversity of types of still lifes increases. For example, more still lifes arise from intimate corners in the room, kitchen, hall in the boudoir or painting studio. The impressionist painter Salomon Garf Still life with strawberries in a basket settles after his education at the Amsterdam Academy in het Gooi. His great talent for painting is evident in all genres that he performs on commission or not. He is known to have a preference for intimate still lifes when painting for pleasure.

Henk Helmantel | A still life with an enamel bowl and strawberries, oil on board, 26.4 x 34.2 cm, signed l.r. and on the reverse and dated recto 1981 and on the reverse 28 juni 1982

Henk Helmantel

painting • for sale

A still life with an enamel bowl and strawberries, 1982

Bernard Blommers | Strawberries with whipped cream and a Rhine wine glass, oil on canvas, 28.8 x 40.0 cm, signed l.r. and painted ca. 1880

Bernard Blommers

painting • for sale

Strawberries with whipped cream and a Rhine wine glass, ca. 1880

Salomon Garf | A still life with strawberries in a basket, oil on canvas, 48.7 x 56.4 cm, signed l.l. and dated '40

Salomon Garf

painting • for sale

A still life with strawberries in a basket, 1940

Frits Grips | Still life with cherries and strawberries in a glass jar, oil on panel, 16.0 x 21.1 cm, signed l.l.

Frits Grips

painting • for sale

Still life with cherries and strawberries in a glass jar

After her education, Coba Surie follows painting lessons with Jo Bauer-Stumpff and Coba Ritsema. Lizzy Ansingh then brings her into the circle of Amsterdamse Joffers. Each “Joffer” worked independently and had her own personality and artistic level. but their weekly encounters created lifelong friendships. Surie has a clear preference for still lifes of fish or everyday objects, which she paints in warm, rich shades. Illustrative of this preference over her portraits is her statement: “Give me still lifes, at least that won’t talk.”

Coba Surie | Still life of painting supplies, oil on canvas, 50.1 x 60.0 cm, signed l.l.

Coba Surie

painting • for sale

Still life of painting supplies

Sorella | Spring flowers, oil on board, 75.2 x 99.8 cm, signed l.r.

Sorella

painting • for sale

Spring flowers

Betsy Osieck | Interior with a showcase, watercolour on paper, 32.0 x 30.0 cm, signed l.r.

Betsy Osieck

watercolour • drawing • for sale

Interior with a showcase

Coba Surie | Kipper, oil on canvas, 30.3 x 40.3 cm, signed l.r.

Coba Surie

painting • for sale

Kipper

The Leiden School painter Chris van der Windt is seen in his time as an all-rounder with a great talent. Together with Arend Jan van Driesten and a few others, he travels through the landscape around Leiden to paint nature. Lucas Verkoren also regularly hooks up. The Leiden School belongs to the afterglow of the Hague School and Van der Windt will always remain loyal to this movement. He also likes to make still lifes, in warm colors and in an impressionistic touch. The subjects are simple, usually flowers, fruit or household goods from his own environment. They are painted by him unadorned and often so close that there is a close-up. He is known for regularly displaying his flowers without a vase to spice up the composition. Lukas Verkoren, who traveled through the surrounding countryside with Chris van der Windt and others in his early years, developed into a valued realist in the late 1930s under the influence of the new businesslike approach. Two still lifes from his realistic period are depicted here.

Lucas Verkoren | A still life with a bowl and books, oil on canvas, 75.7 x 91.5 cm, signed c.r. and dated 1955

Lucas Verkoren

painting • for sale

A still life with a bowl and books, 1955

Chris van der Windt | White narcissus, oil on board, 16.7 x 22.8 cm, signed l.r.

Chris van der Windt

painting • for sale

White narcissus

Chris van der Windt | Dahlias, oil on panel, 29.5 x 34.8 cm, signed l.l.

Chris van der Windt

painting • for sale

Dahlias

Lucas Verkoren | A still life with a pewter plate, oil on canvas, 75.0 x 100.0 cm, signed l.r.

Lucas Verkoren

painting • for sale

A still life with a pewter plate

Back to the precise painting

Almost all 20th century realists prefer painting still lifes. They love the precise, finely detailed representation of their objects, following their illustrious 17th-century predecessors.

In the relatively small, painted oeuvre of Jan Wittenberg his finely elaborated, modest still lifes take a prominent place. From the twenties he is seen as an early representative of the new realism. However, he lacks the melancholy and melancholy that are so characteristic of this movement. He takes a little more distance, pays more attention to division of surfaces, composition and color and starts from the innocence of things. His compositions consist of simple subjects against a dark or dirty white background and are often viewed from above. With this he zooms in and, like the impressionist Chris van der Windt, comes to a close-up of the work. In his simplicity and elaboration, his oeuvre is reminiscent of that of Jan Mankes.

Jan Wittenberg | Clematis, oil on canvas, 50.6 x 45.4 cm, signed u.r. and dated 1941

Jan Wittenberg

painting • for sale

Clematis, 1941

Jan Wittenberg | A young blackbird, watercolour on paper, 13.0 x 18.0 cm, signed u.r. and dated 1931

Jan Wittenberg

watercolour • drawing • previously for sale

A young blackbird, 1931

Jan Wittenberg | A still life with a lemon, oil on canvas laid down on board, 11.5 x 18.0 cm, signed l.l. and dated 1909

Jan Wittenberg

painting • for sale

A still life with a lemon, 1909

Jan Wittenberg | Flower still life, oil on canvas, 29.8 x 24.0 cm, signed u.r. and painted ca. 1940

Jan Wittenberg

painting • for sale

Flower still life, ca. 1940

After Gerrit de Jong opted for a life as a self-taught artist in the 1930s, his talent was quickly recognized. When he participated in the group exhibition Our Art of Today in the Rijksmuseum in 1940, the museum purchased three of his exhibited works. De Jong admires the precision of old masters such as Jan van Eyck and Hendrick Avercamp. In the painting depicted we see this in the portrait that probably represents Agatha van Schoonhoven, which was painted in 1529 by Jan van Scorel (1495-1562).

Gerrit de Jong | A still life of a white bowl, a scale and a print of a painting by Jan Scorel, oil on canvas, 50.3 x 50.3 cm, signed u.r. and dated 1944

Gerrit de Jong

painting • for sale

A still life of a white bowl, a scale and a print of a painting by Jan Scorel, 1944

If we now look at the genre of still life through all art movements, we can say that in color and diversity it is not inferior to one of his 17th-century basic pieces, the showpiece still life.