One of the best still life masters is Jan Davids de Heem. One of the best masters of still life Jan Davids de Hem Jan Davids de Hem fruits and flowers

Self-Portrait

Jan Davidsz de Heem ; April 1606, Utrecht - 1683/1684, Antwerp) - Dutch artist and son of the artist David de Heem, the most significant representative of the de Heem family

He studied with Balthasar van der Ast in Utrecht. He worked in Leiden (1625-1636), Antwerp, where he lived in 1636-1658 and after a short stay in Utrecht in 1669-1672 and again in 1672-1684.

Receptive to the influence of various artistic movements, de Hem created paintings initially in the spirit of the carefully painted archaic flower and fruit still lifes of Balthasar van der Ast, then in Leiden he turned to the genre of Vanitas (allegory of mortality) still lifes in the manner of a group of artists influenced by Rembrandt. In Antwerp, having gained wide fame, he became close to the traditions of the Flemish still life painter Frans Snyders and the creator of flower garlands, Daniel Seghers.

De Heem's paintings in a large horizontal format depicting festive tables, architecture and conventional landscapes are filled with expensive utensils and items of a lavish meal. The understanding of the unity of the light and shadow and pictorial environment, typical of Dutch still life masters, was combined here with a purely Flemish attraction to the abundance and luxury of earthly goods.

His works, designed primarily to create a spectacular spectacle, lacked, however, the sense of spontaneous fullness of life so typical of Flemish painting. The combination of decorative splendor and dry rationalism distinguishes the floral still lifes that made de Hem famous, combining in a complex, skillfully constructed composition numerous plants blooming at different times of the year, with carefully depicted smallest details, including all kinds of insects - flies, butterflies, caterpillars, dragonflies and etc. Endowed with a subtle sense of color, de Hem’s luxurious bouquets not only gave aesthetic pleasure, but also immersed the contemporary viewer into the world of multi-valued symbolic images associated with the idea of ​​frailty, the transience of everything earthly, blossoming and withering, life and death. The high culture of floriculture in Holland, the love of flowers, their hidden religious and secular language of allegory contributed to the exceptional success of this genre in various circles of society; the works of de Heem, his students and followers, who painted pictures based on the master’s sketches, were widely distributed in the art centers of Holland and Flanders.

Bouquet of flowers in a glass vase (Still Life with Flowers in a Glass Vase)Amsterdam, Rijksmuseum

Still Life (Still Life) Madrid, Prado Museum

A Banqueting Scene New York, Metropolitan Museum of Art

Still life with dessert_Paris, Louvre

Fruits and a richly served table (Fruits et riche vaisselle sur une table) Paris, Louvre

Still life with a silver glass

Garland of Fruit and

Luxurious fruit still life (Sumptuous Fruit Still Life)The Hague, Royal Gallery Mauritshuis

Vegetables, fruits and flower cartouche with Berkemeier (Fruchte und Blumenkartusche mit Weinglas) Berlin, Old Masters Gallery

Still life with ham, lobster and fruit Rotterdam, Boijmans van Beuningen Museum

Still life with fish, shrimp, onion, lemon, cherry and other objects Private collection

Still Life with Oysters and Grapes (Still Life with Oysters and Grapes) Los Angeles, LACMA Museum

Fruit and a Vase of Flowers St. Petersburg, Hermitage

Vase of Flowers, Washington, National Gallery

Still Life (Still Life) London, National Gallery

Flowers in a glass Vase with Fruit Madrid, Thyssen-Bornemisza Museum

Garland of flowers and fruits (Festoen van vruchten en bloemen)Amsterdam, Rijksmuseum

Vase of Flowers, The Hague, Royal Gallery Mauritshuis

A festoon of fruit and flowers in a marble niche (a festoon of fruit and flowers in a marble niche)Private collection

Bouquet of flowers in a glass vase on a stone ledge with a pipe, oysters and orange Private collection

Still life with mushrooms and fruits in a landscape (A hare, ducks, other fowl and a brace of hounds, in a fore)

Still life with a box, oysters, fruit, fried chicken, silver jug ​​and other objects Private collection

Still life with lemon, oyster, plums, glass of wine and other objects Private collection

Still life with lobster, fruit, glass glasses, silver tazza and other objects Private collection

Still life with peeled lemon (Nature morte au citron pele)Paris, Louvre

Still life with a peeled lemonPrivate collection

Still life with shells, oysters, fruit, ham, gilded goblet and other objects Private collection

Still life with Roemer, chestnuts on a tin dish, bread, oranges and other objects Private collection

Still life with oysters, crayfish on a tin plate, fruit, gilded goblet and other objects Private collection

Still life with fruit (Stilleben med frukter)Private collection

Still life with fruit and lobster (Stillleben mit Fruchten und Hummer)Berlin, Old Masters Gallery

Still Life with Lemons Pomegranates and Grapes on a TablePrivate collection

Still life with fruit, a glass of wine and a mug of beer on a partially draped table. Private collection

Still life with fruit, oysters, gilded cup and other objects Private collection

Still life with bread, oysters, crayfish, pipe, mug of beer and glass of wine Private collection

Nautilus, roemer, fruit, oysters by the window overlooking the vast landscape Private collection

Fruit in a porcelain bowl, oysters and nuts on a stone ledge Private collection

Flowers in a Vase, St. Petersburg, Hermitage

Flowers in a glass vase on a draped table with silver tazza, fruit, insects and birds. Private collection

Flowers in a glass bowl on a stone ledge with butterfl)Private collection

Flowers in a glass vase on a marble pediment Private collection

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(1606–1683/1684)

Jan Davids de Hem became widely known already in his mature years. His paintings depicting luxurious fruits and elegant bouquets brought him great success among his compatriots. The artist spent twelve years of his life in Antwerp, thanks to which the Dutch thoroughness and realism of his painting were combined with the baroque splendor of Flemish art.

Dutch artist Jan Davids de Heem was born in Utrecht into an artist's family. He received his first painting lessons from his father, Davids de Heem. Later, master Balthasar van der Ast, who worked in Utrecht, became his teacher. Hem lived and worked in Leiden, Antwerp, and Utrecht. After 1672 he returned to Antwerp, where he spent the last years of his life.

In the early works of the master one can feel the influence of various art schools. Hem began his creative journey with “breakfasts” in the manner of Haarlem painters. In Leiden, he created still lifes of books in the vanitas genre, which speaks of the influence of Rembrandt's art.

Already at the age of thirty, Hem became acquainted in Antwerp with the work of the Fleming Frans Snyders, who created luxurious colorful still lifes. From that time on, he began to paint paintings depicting bright flowers and fruits.

J. D. de Heem and J. B. Venix. "Fruits and a vase of flowers." Fragment, 1655, Hermitage, St. Petersburg

But, despite the splendor and colorfulness that comes from the art of Flanders, Hem’s still lifes indicate that the Dutch master never ceased to carefully peer at nature. Thus, the paintings “Breakfast” (1640, Louvre, Paris), “Still Life with Lobster” (Wallace Collection, London), “Still Life with Ham, Lobster and Fruit” (c. 1660, Rijksmuseum, Amsterdam), striking with Flemish Baroque luxury, at the same time, one admires the careful rendering of the light and shadow environment, which is characteristic of the painting of such famous Dutch masters as P. Claes and V. K. Heda.

In awe of the beauty of the surrounding world, Hem turned to creating the large painting “Fruits and a Vase of Flowers” ​​(1655, Hermitage, St. Petersburg). The viewer sees fruits laid out on a bench, including apples, grapes, peaches, as well as nuts, ears of corn and cut melon. Above all this splendor of nature’s gifts, a branch of a mulberry tree rises, and on the left, roses bow their heads from a clay vase. Nearby there is a dish with bright red strawberries.

The landscape background made by the artist Jan Baptist Wenix gives the luxurious still life a special expressiveness. Having had enough of the fruits and flowers, the viewer notices the evening sky, illuminated by the sunset, and the rocks.

Although Hem truly masterfully conveyed the texture of ripe fruits, fading flowers, leaves and ears of corn, the composition seems somewhat overloaded with details.

The painting “Fruits and a Vase of Flowers,” as well as other floral still lifes by Hem, is characterized by a combination of bright decorativeness and rationalism. These are “Flowers in a Vase” (Hermitage, St. Petersburg), “Memento mori. Skull and a bouquet of flowers" (Art Gallery, Dresden), "Fruit and a vase of flowers" (Art Gallery, Dresden). The artist accurately depicts flowers, fruits, various plants and even insects in detail.

J. D. de Heem. “Flowers in a Vase”, Hermitage, St. Petersburg

J. D. de Heem. “Fruits”, Hermitage, St. Petersburg

Luxurious bouquets, painted with sonorous colors, have not only aesthetic significance. Each of these still lifes has a special, symbolic meaning. Withering roses, fluttering butterflies and dead snails remind the viewer of the frailty of existence and the inevitability of death.

The Hermitage still life “Flowers in a Vase” is probably one of Hem’s best works. Although this painting is not dated by the artist, it most likely dates from the Antwerp period, as evidenced by the features of Flemish art present in it. Looking at the picture, we understand that only a person with highly developed powers of observation and a subtle artistic sense can convey the characteristics of each flower, be it a lush rose, a fluffy carnation or a delicate, just blossomed tulip.

J. D. de Heem. “Lobster and fruit on the table”, Hermitage, St. Petersburg

Most researchers consider Hem to be the author of the painting “Lobster and Fruit on the Table” (Hermitage, St. Petersburg), although some believe that the painting was painted by his follower Pieter de Ring. Still life is really very interesting. Elongated in width, it shows an elegantly set table against the backdrop of a window through which a piece of a typical Dutch landscape is visible. The artist focuses on two bright spots - a large red lobster in the center of the table and a glass of scarlet wine.

The shine of pewter dishes, the play of light on the glass of glasses, the golden-pink shades of peaches, the olive transparency of grapes - all this is successfully combined with the dark color of the tablecloth covering the table.

The magnificent painting and laconic composition, uncharacteristic of Dutch still life of this time, distinguishes the canvas from other paintings of this genre.

The still life “Fruits” (Hermitage, St. Petersburg) was executed in a different manner. Using the finest color nuances, pinkish-yellow and blue-purple plums, soft orange apricots, shiny cherries and almost transparent currants are painted. Thanks to careful modeling, ripe fruits and berries laid out on the marble surface of the table seem tangibly real, as if they had just been picked from the garden. The light background, unusual for Khem, adopted by other masters of this genre, makes the small painting look elegant and festive.

Still lifes with flowers, which brought Hem success among his contemporaries, have not lost popularity in modern Holland, which is explained by the great love of the country's inhabitants for floriculture.

, Utrecht - / , Antwerp) is a Dutch artist and son of the artist David de Heem. Supposedly a student of Balthasar van der Ast.

For some time the artist worked in Leiden, in the city he joined the Antwerp Guild of Artists and the following year became a citizen of Antwerp. Around the city he returned to Utrecht, where he was from, and in the city he fled to Antwerp from the French who had captured the city.

De Heem gained worldwide recognition for his magnificent images of flowers and fruits. He combined the detail of the image down to the smallest detail with a brilliant choice of colors and refined taste in composition. He painted flowers in bouquets and vases, in which butterflies and insects often fluttered, flower wreaths in niches, windows and images of Madonnas in gray tones, garlands of fruit, still lifes with glasses filled with wine, grapes and other fruits and products. Hem masterfully used the possibilities of color and achieved a high degree of transparency; his images of inanimate nature are completely realistic. His paintings are in almost all major art galleries.

Son of Jan de Heem Cornelis, born in April in Leiden, studied painting with his father, worked in The Hague and Antwerp, died in May 1695. He painted still lifes with flowers and fruits in the style of his father.

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G. Doe. "The Maid at the Window", ca. 1640, Museum Boijmans van Beuningen, Rotterdam

In 1648, the painter became a member of the Guild of St. Luke. In 1660, the Dutch government purchased three paintings from him. Among them is the famous composition “Young Mother” (Mauritshuis, The Hague). All three paintings were presented to Charles II during his visit to The Hague.

At the end of the 1640s, a new motif appeared in the master’s work - the niche motif, which is also found in Rembrandt’s paintings. But in Dow, such an architectural detail plays the role of a “trick.” Often the artist places a female figure in a niche. This could be a housewife busy with knitting, cooking dinner or washing dishes. Sometimes you can see a doctor in a niche. Such techniques are often just an excuse for displaying a variety of still lifes. It was in the depiction of objects - dishes, household utensils, attributes - that the painter's talent was most manifested. An interesting painting is “The Patient in the Doctor’s Office” (c. 1650, Hermitage, St. Petersburg). Doe depicted the figures of a doctor and a sick woman in the background, and in the foreground - things that are attributes of the medical profession. Books, letters, a pestle and mortar, a globe, a skull, flasks and a copper bowl indicate the scientific interests of the owner of the office. And at the same time, all these objects can be seen in still lifes of the vanitas (“vanity of vanities”) type.

Dow's interest in light and shadow effects also comes from Rembrandt. Very often the space of his paintings is illuminated by a single candle. Hence the softened tones and reddish reflections falling on all objects.

G. Doe. "Patient in the doctor's office", ca. 1650, Hermitage, St. Petersburg

Critics who lived at the same time as Dow compared him to the famous Greek painters Zeuxis and Parrhasius. In 1665, in the house of the artist Hannot, an exhibition of paintings by Doe, kept in the collection of the master’s contemporary, Jan de Beye, was held. This was probably the first European solo exhibition. It presented Doe's most significant works (“Woman Suffering from Dropsy”, “Trumpeter”, both in the Louvre, Paris; “Evening School”, Rijksmuseum, Amsterdam; “Wine Cellar”, Art Gallery, Dresden). After the exhibition, the master’s popularity increased enormously, and with it the prices for his paintings.

In the last period, Dow's painting style has become somewhat different. His works, made at this time, are distinguished by a polished, as if enamel, texture. Soon other painters of the Leiden school turned to this technique. Dou had many students and followers (G. Metsu, J. van Mieris, etc.). Highly valued in previous eras, the artist was unfairly forgotten in the 20th century.

Jan Davids de Hem became widely known already in his mature years. His paintings depicting luxurious fruits and elegant bouquets brought him great success among his compatriots. The artist spent twelve years of his life in Antwerp, thanks to which the Dutch thoroughness and realism of his painting were combined with the baroque splendor of Flemish art.

Dutch artist Jan Davids de Heem was born in Utrecht into an artist's family. He received his first painting lessons from his father, Davids de Heem. Later, master Balthasar van der Ast, who worked in Utrecht, became his teacher. Hem lived and worked in Leiden, Antwerp, and Utrecht. After 1672 he returned to Antwerp, where he spent the last years of his life.

In the early works of the master one can feel the influence of various art schools. Hem began his creative journey with “breakfasts” in the manner of Haarlem painters. In Leiden, he created still lifes of books in the vanitas genre, which speaks of the influence of Rembrandt's art.

Already at the age of thirty, Hem became acquainted in Antwerp with the work of the Fleming Frans Snyders, who created luxurious colorful still lifes. From that time on, he began to paint paintings depicting bright flowers and fruits.

J. D. de Heem and J. B. Venix. "Fruits and a vase of flowers." Fragment, 1655, Hermitage, St. Petersburg

But, despite the splendor and colorfulness that comes from the art of Flanders, Hem’s still lifes indicate that the Dutch master never ceased to carefully peer at nature. Thus, the paintings “Breakfast” (1640, Louvre, Paris), “Still Life with Lobster” (Wallace Collection, London), “Still Life with Ham, Lobster and Fruit” (c. 1660, Rijksmuseum, Amsterdam), striking with Flemish Baroque luxury, at the same time, one admires the careful rendering of the light and shadow environment, which is characteristic of the painting of such famous Dutch masters as P. Claes and V. K. Heda.

In awe of the beauty of the surrounding world, Hem turned to creating the large painting “Fruits and a Vase of Flowers” ​​(1655, Hermitage, St. Petersburg). The viewer sees fruits laid out on a bench, including apples, grapes, peaches, as well as nuts, ears of corn and cut melon. Above all this splendor of nature’s gifts, a branch of a mulberry tree rises, and on the left, roses bow their heads from a clay vase. Nearby there is a dish with bright red strawberries.

The landscape background made by the artist Jan Baptist Wenix gives the luxurious still life a special expressiveness. Having had enough of the fruits and flowers, the viewer notices the evening sky, illuminated by the sunset, and the rocks.

Although Hem truly masterfully conveyed the texture of ripe fruits, fading flowers, leaves and ears of corn, the composition seems somewhat overloaded with details.

The painting “Fruits and a Vase of Flowers,” as well as other floral still lifes by Hem, is characterized by a combination of bright decorativeness and rationalism. These are “Flowers in a Vase” (Hermitage, St. Petersburg), “Memento mori. Skull and a bouquet of flowers" (Art Gallery, Dresden), "Fruit and a vase of flowers" (Art Gallery, Dresden). The artist accurately depicts flowers, fruits, various plants and even insects in detail.

J. D. de Heem. "Flowers in a Vase", Hermitage, St. Petersburg

J. D. de Heem. “Fruits”, Hermitage, St. Petersburg

Luxurious bouquets, painted with sonorous colors, have not only aesthetic significance. Each of these still lifes has a special, symbolic meaning. Withering roses, fluttering butterflies and dead snails remind the viewer of the frailty of existence and the inevitability of death.

The Hermitage still life “Flowers in a Vase” is probably one of Hem’s best works. Although this painting is not dated by the artist, it most likely dates from the Antwerp period, as evidenced by the features of Flemish art present in it. Looking at the picture, we understand that only a person with highly developed powers of observation and a subtle artistic sense can convey the characteristics of each flower, be it a lush rose, a fluffy carnation or a delicate, just blossomed tulip.

J. D. de Heem. “Lobster and fruit on the table”, Hermitage, St. Petersburg

Most researchers consider Hem to be the author of the painting “Lobster and Fruit on the Table” (Hermitage, St. Petersburg), although some believe that the painting was painted by his follower Pieter de Ring. Still life is really very interesting. Elongated in width, it shows an elegantly set table against the backdrop of a window through which a piece of a typical Dutch landscape is visible. The artist focuses on two bright spots - a large red lobster in the center of the table and a glass of scarlet wine.

John Calvin John Calvin(1509-1564) - church reformer and founder of one of the movements of Protestantism. The basis of the Calvinist church is the so-called congregations - autonomous communities governed by a pastor, deacon and elders chosen from the laity. Calvinism was very popular in the Netherlands in the 16th century. taught that everyday things have hidden meanings, and behind every image there should be a moral lesson. Objects depicted in still life have multiple meanings: they were endowed with edifying, religious or other connotations. For example, oysters were considered an erotic symbol, and this was obvious to contemporaries: oysters allegedly stimulated sexual potency, and Venus, the goddess of love, was born from a shell. On the one hand, oysters hinted at worldly temptations, on the other, an open shell meant a soul ready to leave the body, that is, it promised salvation. Of course, there were no strict rules on how to read a still life, and the viewer guessed exactly the symbols on the canvas that he wanted to see. In addition, we must not forget that each object was part of the composition and could be read in different ways - depending on the context and the overall message of the still life.

Flower still life

Until the 18th century, a bouquet of flowers, as a rule, symbolized frailty, because earthly joys are as transitory as the beauty of a flower. The symbolism of plants is especially complex and ambiguous, and books of emblems, popular in Europe in the 16th-17th centuries, helped to grasp the meaning, where allegorical illustrations and mottos were accompanied by explanatory texts. Floral arrangements were not easy to interpret: the same flower had many meanings, sometimes directly opposite. For example, the narcissus indicated self-love and at the same time was considered a symbol of the Mother of God. In still lifes, as a rule, both meanings of the image were preserved, and the viewer was free to choose one of the two meanings or combine them.

Floral arrangements were often supplemented with fruits, small objects, and images of animals. These images expressed the main idea of ​​the work, emphasizing the motif of transience, decay, the sinfulness of everything earthly and the incorruptibility of virtue.

In the painting by Jan Davids de Heem Jan Davids de Heem(1606-1684) was a Dutch artist known for his floral still lifes. At the base of the vase, the artist depicted symbols of mortality: withered and broken flowers, crumbling petals and dried pea pods. Here is a snail - it is associated with the soul of a sinner Other such negative images include reptiles and amphibians (lizards, frogs), as well as caterpillars, mice, flies and other living creatures crawling on the ground or living in the mud.. In the center of the bouquet we see symbols of modesty and purity: wildflowers, violets and forget-me-nots. They are surrounded by tulips, symbolizing fading beauty and senseless waste (growing tulips in Holland was considered one of the most vain activities and, moreover, expensive); lush roses and poppies, reminiscent of the fragility of life. The composition is crowned with two large flowers that have a positive meaning. The blue iris represents the remission of sins and indicates the possibility of salvation through virtue. The red poppy, which was traditionally associated with sleep and death, has changed its interpretation due to its location in the bouquet: here it denotes the atoning sacrifice of Christ Even in the Middle Ages, it was believed that poppy flowers grew on land watered by the blood of Christ.. Other symbols of salvation are ears of bread, and a butterfly sitting on a stalk represents the immortal soul.

Painting by Jan Bauman Jan (Jean-Jacques) Bauman(1601-1653) - painter, master of still life. Lived and worked in Germany and the Netherlands.“Flowers, Fruits and a Monkey” is a good example of the semantic layers and ambiguity of a still life and the objects on it. At first glance, the combination of plants and animals seems random. In fact, this still life also reminds us of the transience of life and the sinfulness of earthly existence. Each depicted object conveys a certain idea: the snail and lizard in this case indicate the mortality of everything earthly; a tulip lying near a bowl of fruit symbolizes rapid fading; shells scattered on the table hint at an unwise waste of money In 17th-century Holland, collecting various kinds of “curiosities,” including shells, was very popular.; and the monkey with the peach indicates original sin and depravity. On the other hand, a fluttering butterfly and fruits: bunches of grapes, apples, peaches and pears speak of the immortality of the soul and the atoning sacrifice of Christ. On another, allegorical level, the fruits, fruits, flowers and animals presented in the picture represent four elements: shells and snails - water; butterfly - air; fruits and flowers - earth; monkey - fire.

Still life in a butcher shop

The image of a butcher shop has traditionally been associated with the idea of ​​physical life, the personification of the element of earth, as well as gluttony. Painted by Peter Aertsen Peter Aartsen ( 1508-1575) - Dutch artist, also known as Pieter the Long. Among his works are genre scenes based on gospel stories, as well as images of markets and shops. Almost the entire space is occupied by a table laden with food. We see many types of meat: killed poultry and dressed carcasses, liver and ham, hams and sausages. These images symbolize immoderation, gluttony and attachment to carnal pleasures. Now let's turn our attention to the background. On the left side of the picture, in the window opening, there is a gospel scene of the flight into Egypt, which contrasts sharply with the still life in the foreground. The Virgin Mary hands the last loaf of bread to a beggar girl. Note that the window is located above the dish, where two fish lie crosswise (symbol of the crucifixion) - a symbol of Christianity and Christ. On the right in the background is a tavern. A cheerful group sits at a table by the fire, drinks and eats oysters, which, as we remember, are associated with lust. A butchered carcass hangs next to the table, indicating the inevitability of death and the fleeting nature of earthly joys. A butcher in a red shirt dilutes wine with water. This scene echoes the main idea of ​​the still life and refers to the Parable of the Prodigal Son Let us remember that in the Parable of the Prodigal Son there are several plots. One of them tells about the youngest son, who, having received an estate from his father, sold everything and spent the money on a dissolute life.. The scene in the tavern, as well as the butcher shop full of dishes, speaks of an idle, dissolute life, attachment to earthly pleasures, pleasant for the body, but destructive for the soul. In the scene of the flight to Egypt, the characters practically turn their backs to the viewer: they move deeper into the picture, away from the butcher shop. This is a metaphor for escape from a dissolute life full of sensual joys. Giving up them is one of the ways to save the soul.

Still life in a fish shop

The fish still life is an allegory of the water element. These kinds of works, like butcher shops, were often part of the so-called cycle of the primordial elements In Western Europe, large painting cycles were common, consisting of several paintings and, as a rule, hanging in one room. For example, the cycle of the seasons (where summer, autumn, winter and spring were depicted with the help of allegories) or the cycle of the primary elements (fire, water, earth and air). and, as a rule, were created to decorate palace dining rooms. In the foreground are paintings by Frans Snyders Frans Snyders(1579-1657) - Flemish painter, author of still lifes and baroque animal compositions.“Fish Shop” depicts a lot of fish. There are perches and sturgeon, crucian carp, catfish, salmon and other seafood here. Some have already been cut up, some are waiting their turn. These images of fish do not carry any subtext - they glorify the wealth of Flanders.

Next to the boy we see a basket with gifts that he received for St. Nicholas Day In Catholicism, St. Nicholas Day is traditionally celebrated on December 6th. On this holiday, as at Christmas, children are given gifts.. This is indicated by wooden red shoes tied to the basket. In addition to sweets, fruits and nuts, the basket contains rods - as a hint of upbringing with “carrot and stick”. The contents of the basket speak of the joys and sorrows of human life, which constantly replace each other. The woman explains to the child that obedient children receive gifts, and bad children receive punishment. The boy recoiled in horror: he thought that instead of sweets he would receive blows with rods. On the right we see a window opening through which we can see the city square. A group of children stands under the windows and joyfully greets the puppet jester on the balcony. The jester is an integral attribute of folk holiday festivities.

Still life with a set table

In numerous variations of table settings on the canvases of Dutch masters we see bread and pies, nuts and lemons, sausages and hams, lobsters and crayfish, dishes with oysters, fish or empty shells. These still lifes can be understood depending on the set of objects.

In a painting by Gerrit Willems Heda Gerrit Willems Heda(1620-1702) - author of still lifes and son of the artist Willem Claes Heda. we see a dish, a jug, a tall glass goblet and an overturned vase, a mustard pot, a ham, a crumpled napkin and a lemon. This is Heda's traditional and favorite set. The arrangement of objects and their choice are not random. Silverware symbolizes earthly riches and their futility, ham symbolizes carnal pleasures, and an attractive-looking lemon, sour inside, represents betrayal. An extinguished candle indicates the frailty and fleetingness of human existence, a mess on the table indicates destruction. A tall glass “flute” glass (in the 17th century such glasses were used as a measuring container with marks) is as fragile as human life, and at the same time symbolizes moderation and a person’s ability to control his impulses. In general, in this still life, as in many other “breakfasts,” the theme of vanity and the meaninglessness of earthly pleasures is played out with the help of objects.

Most of the objects depicted in the still life by Pieter Claes Peter Claes(1596-1661) - Dutch artist, author of many still lifes. Along with Heda, he is considered the founder of the Harlem school of still life with its geometric monochrome paintings. are erotic symbols. Oysters, pipe, wine refer to brief and dubious carnal pleasures. But this is just one option for reading a still life. Let's look at these images from a different angle. Thus, shells are symbols of the frailty of the flesh; a pipe, with which they not only smoked, but also blew soap bubbles, is a symbol of the suddenness of death. Claes's contemporary, the Dutch poet Willem Godschalk van Fokkenborch, wrote in his poem “My Hope is Smoke”:

As you can see, being is akin to smoking a pipe,
And I really don’t know what the difference is:
One is just a breeze, the other is just a smoke. Per. Evgeniy Vitkovsky

The theme of the transience of human existence is contrasted with the immortality of the soul, and signs of frailty suddenly turn out to be symbols of salvation. The bread and glass of wine in the background are associated with the body and blood of Jesus and indicate the sacrament of the sacrament. Herring, another symbol of Christ, reminds us of fasting and Lenten food. And open shells with oysters can change their negative meaning to the exact opposite, denoting the human soul, separated from the body and ready to enter into eternal life.

Different levels of interpretation of objects unobtrusively tell the viewer that a person is always free to choose between the spiritual and eternal and the earthly transitory.

Vanitas, or "Scientist" still life

The genre of the so-called “scientific” still life was called vanitas - translated from Latin it means “vanity of vanities”, in other words - “memento mori” (“remember death”). This is the most intellectual type of still life, an allegory of the eternity of art, the frailty of earthly glory and human life.

Sword and helmet with luxurious plumes in a painting by Jurian van Streck Jurian van Streck(1632-1687) - Amsterdam artist, famous for his still lifes and portraits. indicate the fleeting nature of earthly glory. The hunting horn symbolizes wealth that cannot be taken with you into another life. In “scientific” still lifes there are often images of open books or carelessly lying papers with inscriptions. They not only invite you to think about the objects depicted, but also allow you to use them for their intended purpose: read open pages or play music written in a notebook. Van Streck drew a sketch of a boy's head and an open book: this is Sophocles' tragedy "Electra", translated into Dutch. These images indicate that art is eternal. But the pages of the book are curled and the drawing is wrinkled. These are signs of the beginning of corruption, hinting that after death even art will not be useful. The skull also speaks of the inevitability of death, but the ear of grain entwined around it symbolizes the hope of resurrection and eternal life. By the middle of the 17th century, a skull entwined with an ear of grain or evergreen ivy would become a mandatory subject for depiction in still lifes in the vanitas style.

Sources

• Whipper B.R. The problem and development of still life.
• Zvezdina Yu. N. Emblematics in the world of ancient still life. On the problem of reading a symbol.
• Tarasov Yu. A. Dutch still life from the 17th century.
• Shcherbacheva M. I. Still life in Dutch painting.
• Visible image and hidden meaning. Allegories and emblems in the painting of Flanders and Holland in the second half of the 16th - 17th centuries. Exhibition catalogue. Pushkin Museum im. A. S. Pushkin.