Professional Documents
Culture Documents
European Flower Painters
European Flower Painters
PETER MITAJELL
--A
^Pf
The
skill
of their
in its great
painters
and American
due
place.
The book
from Classical times by way of the illuminated manuscripts of the Middle Ages, the
particular influences, developments,
down
to the
artists.
He
framework
and biographical
These are of flower
the Western schools, in
critical
painters of
all
represented by
at least
one
illustration.
is
The
biblio-
artists.
An
ing
written
entries in the
He
is
1 744-1808,
and he has
to Art.
of Art.
I.uropean Flower Painters contains 48
pages
of
colour and
and white
illustrations,
reproduced from
many
BOSTON
PUBLIC
LIBRARY
PETER MITCHELL
European
Gfbwer^ainters
INTERBOOK INTERNATIONAL B. V.
Schiedam
1981
Published by:
Interbook International B. V.
97, Lange
3111
CC
Haven
Schiedam
The Netherlands
This book was designed and produced by
Myra Clark
ISBN: 90.6397.032.3
Reverse of frontispiece
vase a long col', signed
1.
REDON,
'Fleurs
du champs dans un
22'/2xl3in.(57x33cm)
Frontispiece 2.
9'/4x6 5 /8
in.
(23.5x16.7 cm)
Contents
Foreword
Introduction
Biographies
33
Bibliography
263
Exhibition Catalogues
265
Illustrations:
Acknowledgments and
Photographic Credits
265
Index of Artists
271
Colour Plates
i.
'Fleurs du
champs dans
157.
reverse offrontispiece
185.
2.
frontispiece
GOES, Hugo
van der,
Portinari Altarpiece,
c.
detail
37.
ARELLANO, Juan
de, signed
37
38.
LINARD, Jacques,
signed
37
39.
AST,
72.
AELST,
55
73.
BAUER,
56
85.
BOSSCHAERT,
86.
BEERT,
200.
146
201.
KESSEL, Jan
147
202.
JOHN,
38
Augustus, signed
148
BRUSSEL,
259.
OS, Jan
260.
SOREAU,
68
261.
188
77
279.
PICART, Jean-Michel,
197
280.
REDOUTE,
68
185
188
Isaak
signed
198
RENOIR,
215
138.
105
320.
139.
EHRET,
106
321.
140.
FLEGEL,
322.
SPAENDONCK,
155.
96
305.
IN-LATOUR,
MATISSE,
340.
341.
GAUGUIN,
216
dated 1709
225
VALLAYER-COSTER,
178(2?)
108
107
dated 1924
[56.
304.
17
374.
117
375.
86
187
95
van, signed
120.
176
Mary, signed
CEZANNE, Paul
CHAGALL, Marc, signed
FAM
175
78
1638
1878
258.
158
MOSER,
67
signed and dated 1624
157
257.
66
dated 1789
141.
145
van, signed
65
c.
dated 1726
216.
CARAVAGGIO
99. BRUEGHEL, Jan the Elder
119.
136
89. Follower of
100.
135
19
1475
BRUEGHEL, Jan
88.
de, signed
118
199.
from the
19.
87.
II,
186.
18.
GHEYN, Jacques de
HEEM, Jan Davidsz.
VERELST,
Simon
Pietersz, signed
238
255
256
Foreword
The
is
like a butterfly
on one bloom and then another in the rich, manysided bouquet presented by the history of flower painting. To
alighting
first
attempt to
visit
one aspect
every detail
English attribute, has been the aim, with some reference, however
many fascinations rather than the comprehensive study of one of them, as would be found in a specialist
book. If, as advertising would have us believe, one flower is worth a
fleeting, to the subject's
million words, in
arts has the
my
same verbal
value.
Thus
in dealing
a dictionary
of flower painters
where space allows for only one in ten to be illustrated seems unsatisfactory. Although an alphabetical layout has been followed in
the biographies, this book, because it is not several volumes but one,
is
is
a selection over a
wide field of time and place with every artist, great and small,
to allow the reader to
illustrated
schools, centuries,
their
own
one who
precedence over
many
lesser figures
influential.
Another
great art
oil
paintings.
FOREWORD
Compromise has again been the guide with the biographical entries.
The aim has been to give all available information about the artist,
except for the great non-specialists, where a detailed biographv
would be superfluous. The general reader must bear with the press
of factual matter of interest to the specialist, and the latter must
bear with my attempts to make such data more palatable to the
former. Emphasis has been laid on cross reference so where an artist
who painted flowers is mentioned in the course of another's bio-
new unpublished
in
my
collections at
been
The source for any treatment of flower painting lies in the work
of the renowned specialist writers. I have envisaged the text, which
as I have suggested is subordinate to the corpus of illustrations, as
a
means of bringing
found
in the
to the reader
be found
in the bibliography.
The tedium
of footnotes
and
Man
Anne
glance
at
improvements.
curators have been most kind, and I sincerely thank all those fellow
dealers and private collectors who have provided colour trans-
parencies and
Among
photographs, on
many
FOREWORD
Museum, Cam-
of the Courtauld
Art Reference Library at the Victoria
and Albert Museum have been consistently
helpful.Miss Constance
Barnes o Sotheby's and David Dallas of
Christie's have put up with
continual requests for information
on the sales of their respective
firms. Malcolm Uttley, our firm's
secretary, has typed the whole
manuscript and copious correspondence
with willing
A C. Cooper Ltd and Derrick Witty have been responsible expertise
for much
photographic work.
Institute
My
and
of the National
paintings
artists, particularlv
PETER MITCHELL
3.
RUBENS,
'Pausias
and
Hoi y ~ (>i
in.
(ilycera',
(209 X
c.
i<>4
and
BEERT,
1615 18
cm.)
5.
10
(opposite)
RINK),
Introduction
was famed
made
the
mouth
many
water,
It
was
copies
were made. Two thousand years later, Rubens and Osias Beert
combined their talents to depict Pausias with Glycera in his moment
4.
Roman Mosaic
.
in
(64-5 X
04
cm.)
of triumphant courtship
From
They
flower painting.
(ill.
3).
Romans
still-life
and
pictures'.
When
had
new
to offer,
much
responsible
as any considerations of
first
century
A.D., a
11
_d
INTRODUCTION
The
is
If a rose
plants,
one has
jJinnMfniritfmmifli.'lriqiu) *-
nomuiranirnfl.^taumsgr
j,
DnsioWauur.
groigi.'rtfntriuii
6. 'St
-^
inolflWDdpilini.T,'
-4 **-.
fmnrntpiinSis pur nwr ^r i. (bratusgttDgni6tt<)))iibtr.a) 3>
rannnuunifftmis.dHfmim) 4 fT mmo imiijqjiflof
cuiflt) (Ttiilm mini
nnitommii fimla:noiid|(i)i %.
ranjn:R:i ramr Digmmtrcn-
in;
c.
^JCv
wwnnBt>inr.mas ,rt*E
'-
^*.
&&*
1425
master of
still-life,
a flowerpiece the
equal
left
12
INTRODUCTION
mastery.
The
The
carnations, three
is a
reference to the
its
Holy
three petals
was sometimes shown for the same reason, and was in early times
known in England as the Trinity herb. Incidentally, the juice of the
carnation was thought to be a specific against the plague and it
appears held in the hand in a layman's portrait, a symbolic protection
for the sitter.
The
aquilegia
columba,
is
expect in so
[MttOfttTKH
tf
j
U'tUVilKlduKO
Kmrmtt
iiimu\
lifelike a painting.
Communion
and be reborn
corn of wheat
it
die,
it
in
fall
new
'Verily, verily,
life:
into the
bringeth forth
ground and
much
fruit'
die,
if
(John, 12:24).
MASTER OF MARY Ol
the
I'.i
martvr
in his victory
over death.
The
Venus
sacrifice.
'3
INTRODUCTION
dreamed of commissioning
moment when
in itself
was
the flowerpiece or
still
still-life
would become
a subject
Collection there
is
a portrait of a
its
centrepiece or pendant.
(c.
1490)
is
On
a vase of white
the reverse
lilies,
purple
and columbines (ill. 8). This would have shown when the
was closed, and there may have been a Madonna on the
other wing to whom the flowers would have been appropriate. The
letters I.H.S. inscribed on the jug as a religious motif have many
readings, of which Jesus Hominum Salvator is the best known.
irises,
altarpiece
What
8.
MEMLING,
into his oil paintings without further reference to the living model,
(opposite
9.
left)
DURER,
Albrecht, 'An
Iris',
signed and
dated 1508
30} x
i2jj in.
(77-5x31-3 cm.)
584 X 48J
in.
to,
'4
ill.
10
subordinate.
An
interest in flowers
to
which
i5
INTRODUCTION
Humanist
who
1526,
for the
Hapsburg Emperors
at
In the
Dutch
botanical gardens.
The
links
are numerous.
De
times
when
the introduction of
new
flowers provided a
The
fritillaries
South America that they brought it back to Europe. The name, from
the Passion of Our Lord, derives from a resemblance of the corona
to the Crown of Thorns, and the stamens form a Cross. The chrysanthemum became a most popular flower when introduced from
Japan in the nineteenth century and was a favourite with the Impressionists. Of the most celebrated new flower, the tulip, something
will
be said presently.
New World
especially the
and amid many adventures and hardships may well have encountered
16
new
Lemoyne's
two years
at Blackfriars in 1586,
The woodcut
illustrations
appear crude
and
(above)
15.
pieces, signed
,'.
in.
pair ot flower-
The
12.
(opposite ab,\e)
*I)o'_'
13,
(opposite below)
COLL
\I.R
\driaen, Florilegium
(below)
-si in
IRCIMBOLDO,
(78 4
04
cm.)
Giuseppe, 'Spring'
painting,
came of
bondage
as
coming of
age, so
welcome
to artists
and
collectors,
would
receive recognition
Ludger
Tom
a pair
of
their lilies
phenomenon.
The most famous fantasies of early flower painting are the works
of Arcimboldo (ill. 16) that delight children and grown-ups alike.
Obviously they stand outside the central story except as an early
instance of the portrayal of seasons or months by flowers.
17
INTRODUCTION
The
is
many
Some may
examples of the Flemish school. 111. 17 is a tiny watercolour on parchin an ornamental vein, the culmination of flowers in
miniatures. The tulip with tiny hatched strokes is perfectly rendered.
Perhaps Hoefnagel made use of a magnifying glass, as these came
ment of 1594
Bosch
17.
HOEFXAGEL,
6f x 4I
in.
and on which he spent so much time, patience and care that they
seemed entirely natural. He also painted the heavenly dew on flowers
and plants, and furthermore, all kinds of insects, butterflies, small
flies and so forth, as one can see in his paintings which are found here
and there in the houses of patrons of art.' Van Mander goes on to
tell of his figure paintings and cites two important collections with
Van den Bosch flowerpieces. Few important collections were to be
without flower paintings. Alas, nothing remains of the work of the
earliest noted flower painter in the Northern Netherlands.
Neither Ludger Tom Ring, Hoefnagel, nor Van den Bosch were
specialist flower painters, or more explicitly, were exclusively flower
painters. Indeed flowers may have played a small part in their work.
Hard on their heels came the founders of independent flower painting,
Ambrosius Bosschaert, a specialist, Jan Brueghel, Jacques de Gheyn
II, and Roelandt Savery. In the present writer's view it is but an
accident of survival that no dated flowerpiece exists from these
masters before 1600. The wonderful drawing of De Gheyn, ill. 20,
with
its
purple
De Gheyn,
fritillary,
How
dated work,
iH
(opposite)
Altai pii.Lt.
si/c ol
18
GO!
S,
Hugo
1475
whole, 99J X
19J in
wmmm
INTRODUCTION
noblemen or
One
new
make
seem today
quilt of colours
to cover
made by
BRUEGHEL, Jan
size
of whole, 49 x 37^
20.
GHEYN, Jacques de
in.
(1245 x
962
cm.)
tulip, as
work
to
19. (opposite)
flowerpiece
Holland
The
at tulip
The
ancestors of
time in
patch-
Turkey
mind by
in
to
de Lecluse
Soon the
is
brought to
known
as.
Tulipa
\s with every
tulip spread
new
flower
it
artist, gratified
work.
111.
22
is
painted
it
in
As
a grower's
II,
a Fritillary'
io|x8
in.
(27-5x22-5 cm.)
21
INTRODUCTION
much more
month showed
in the
list
elaborate catalogue
(ill.
23).
The prints
number
for each
identified
key below, and were coloured by hand and sent out with a
It
was
a catalogue
combined
21.
SNYERS,
32^x22!
in.
(83-5x58 cm.)
or so later.
182) with
22
'"
(44
5*
34
cm -)
undeniable.
22.
is
them
will
INTRODUCTION
The theme
the period
that predominates in
is
transitory existence
on
and resurrection.
Flowers were in themselves perfect symbols of transience. 'Even
as the rose flourisheth in the morning, and yet doth quickly languish
at eventide, so we, who but now were living are tomorrow a paltry
shadow', wrote an anonymous author in 1654. The prominence of
dewdrops may also have been a further symbol of transience, for
they disappear very rapidly in the heat of the day.
is
man
The
caterpillar
Greek times
WIIII.S.
i)l
in.
alter '\la\',
Flowers, published
in
symbols.
All this rather depressing sign language
didactic content,
it
set certain
is
important because,
artist or
to
1ft
&*
T$
1
Ml
NT
',
(24 x 40
VI
tm
'
24 PI I.I
x 15^
9J
it
many
opportunity of depicting
As
/-
Dutch were
by including
shells
from
both the East and the West Indies, as with Van der Ast, ill. 40, the
artist made a quietly contented reference to the power of the Dutch
nation whose possessions encompassed the seas.
When the layman is confronted with the great flower paintings,
frequent question
is
how
it
is
many
patrons, an
tribulations are
lot: veiled
23
INTRODUCTION
paid
hints that he should in fairness be
how many
clear idea can be gained as to
defies explanation.
ill.
like
99
in a major project
hours work were actually involved
No
is
be imagined.
inclined to think fewer than might
It
flowerpiece.
Brueghel
privately owned
from a
that is common to so
shows not onlv the minute detail of finish
of technique with
manv flowerpieces, but the extraordinary fluidity
great artist or craftsman
which thev were created. The skill of the
able,
to do their work, but in being
lav not simply in being able
a
make
to
to do it fast enough
by their extraordinarv dexterity,
priming to show through the transliving Brueghel used the chalk
passages, just as his friend Rubens
parent, as opposed to the opaque,
the great
is the special property of
did to give that luminositv which
Bosschaert seemed to hide
Flemish masters. Bv contrast Ambrosius
Ill
in
is
detail
way
are no
but equally mysterious, and there
method.
his hand about his working
delay in completing
Van Huvsum assured a patron in 1742 that the
to find a yellow
unable
he had been
a painting' was simplv because
counter and one which
previous vear. A difficult excuse to
letters
rose the
of
confirmed by the appearance of the dates
from
(ill. 197)- To construe
consecutive years on the same painting
even
painting,
more than a year for a
this that Jan'van Huvsum took
a
case
this were strictly the
such a masterpiece,' is misleading. If
produced two hundred and
working life of fiftv vears could not have
worked on
likely explanation is that he
some experts
fiftv
believe
paintings.
is
The most
to imagine.
Weverman wrote
that
Van
is
that
no error
vsas
made because
24
minutiae
are not the detailed studies of
tight.
are
paintings
are as broad as his
INTRODUCTION
~
.
K lSk jr^>
** ~~
-
*
-
ti0
^J***~
L
1
j*5S^S^^
|
rv
9
A.
flowerpiece or
still-life is
young Oudry
Manet
to learn
said that
by painting flowers; in
was 'the touchstone
still-life
of the painter'.
In the eyes of the academies of painting, the tradition persisted
that subjects could be divided into categories of differing merit.
History painting was the highest calling of the artist, still-life the
The
modest
25.
HLYSLMJan
4 in. (47
van
5x35-6 cm.)
Many
a reader
Maria
de'
in the
Low
Medici
among
great collectors.
When
Countries.
who
work of other
artists to a
neces-
25
INTRODUCTION
reader
may
still
find
it
it
The word
when
'early'
The work
its
difficult to describe.
was akin
to the
The
contemporary group
paid
portraits. It
share and
is
as if
demanded
each flower
be portrayed
as clearly as the next. Thus there is often an absence of overlapping
so that each flower may be seen clearly, both in small simple bouquets
where such a requirement poses few problems, and in the large
upright bouquets with many flowers that Brueghel, Bosschaert, and
sitter,
its fair
to
Savery also painted. The vases are centrally placed against a closed
background - with the exceptions of a few Bosschaerts, notably the
famous panel of 162 1 (ill. 77). Nothing distracts the onlooker from
the flowers, which are symmetrically presented in a balanced bouquet.
To use the word 'naive' of works painted with such sophisticated
skills seems absurd, yet there is, because of the manner of presentation, a naive charm, a wondrous innocent joy in the early
flowerpiece never to be recaptured. When one speaks of progress,
of 'more advanced work', of 'stylistic change', the terms are, of
course, relative because what is gained in one sense is lost in another.
One feels, rightly or wrongly, that the artists were themselves devoted
to their work in a way that was unique. Perhaps the soul goes out of
flower painting in the latter part of the seventeenth century.
The
illustrations
show how
is
1,
little
work
Utrecht from 1624 (ill. 325). We know from the work of Brueghel,
Bosschaert, and Savery that they turned from one type to another.
Both had their adherents. The tall, upright, elaborate bouquet, one
at
of
20
is
clearly followed
by Binoit
26.
HINOIT,
35 x 22]
in. (8()
x 56-2 cm.)
INTRODUCTION
Berghe.
The
minor
artists in their
whom
very few
more remarkable
contrast.
much
their
Dutch
art,
art,
Daniel Seghers took the idea of the garland which Brueghel had
used and changed it into a format followed by a host of painters.
One of his pupils, Luyckx, went to work for the King of Spain,
but both his garlands and his rare bouquets were known throughout
Europe. Picart's oval panel (ill. 279) reflects the influence of the
Seghers bouquet.
The
is
an early flowerpiece,
even a small one, is a wonderfully decorative object in a room. Yet
in the first half of the seventeenth century this was not in the minds
of the painters, nor their patrons. Flowers were painted as botanical
records, for their own beauty, with the utmost fidelity. If their
colour and vitality lit up a room, so much to the good, but this was
simply a secondary appeal. They were never intended to decorate.
Very broadly speaking the development of flower painting in the
seventeenth century is an increasing awareness of the decorating
role of the flowerpiece coupled, in the hands of the great masters,
to a desire to keep to the staggeringly conscientious standards of
craftsmanship set by the founders.
The growing influence of Louis XIV's taste, especially after his
invasion of Holland in 1672, set new standards of elaboration and
elegance which Europe eagerly followed. Canvas, which allowed
greater size and required far less preparation, replaced panel and
copper. De Heem, shared by both the Dutch and Flemish schools,
stands as a link between the earlier traditions and the role of the
decorative flowerpiece. His influence releases the decorative impulses
of Flemish art, dominated by the spirit of Rubens, whose disciples
Fyt and Snyders, although primarily concerned with still-life and
its
intrinsic qualities,
27
INTRODUCTION
27.
BOLLOXGIER,
27I x 21^
28. (right)
in.
(68
SCHRIEK,
1661
23^x
19
in. (59-
ix 483 cm.)
game
would suggest
influenced Italian
artists,
same
me Tangere'
who favoured
vein.
(ill.
The
present writer
done
in the
In the
Low
detriment of still-life.
28
INTRODUCTION
29.
MOXXOYER, Jean-Baptiste,
32 x 40+
in. (81-3
Overmantel
x 102 9 cm.)
and
popularity of
flowerpieces.
illustrating the
'feel'
more
Italy,
many
changing mood
like
so
predecessors
and
contemporaries,
perfectly
72);
(ill.
illustrates
the
by
(ill.
Cam,
28)
in
style.
and flower painting, lost its inand theonce mighty Antwerp school which boasted Brueghel,
Beert and Hulsdonck turned to dull decorating canvases,
by the end
still-life
spiration
and
29
INTRODUCTION
England, were far from the spirit of the early masters. Canvases
were shaped to go over doors, mantelpieces, as flowers were called
upon to play their part in the increasingly important concept of the
over-all decoration of a room. Need it be said again, tastes differ
and terms are relative who would disdain the best work of any of
these excellent painters? The decorative style was international and
the distinctions of schools less evident and less significant. Very
broadly speaking, the pattern was set for flower painting in the
eighteenth century. Botanical illustration with great names like
Ehret, Bauer, Spaendonck and Redoute (ill. 30) sustained and
:
Dutch
of
what had gone before, flowers alone inspired two new names worthy
of their illustrious forerunners Rachel Ruysch, who as a girl was
briefly the pupil of Van Aelst, and Jan van Huysum. The 'Phoenix
of flower painters', Van Huysum, perfected a technique and a gift
:
for elegant composition, refined to the last detail, that captured the
suggested,
artists
somehow
left
and the
last quality
charm
is
30.
REDOUTE,
INTRODUCTION
dated 1808
to the Van
(ills.
at Paris.
many
later
and many others. Yet, despite the known admiration of the Impressionists and Fantin-Latour for Chardin and his 'rediscovery' in
their era, it was Odilon Redon who most closely approached the
of Chardin's only surviving flowerpiece.
In the nineteenth century individuals are more important than
schools, and the reader must simply compare and contrast the many
spirit
is no clear story to tell. As FantinLatour said in 1865, 'I think in fact the era is past of schools and
artistic movements'. National characteristics remain, of course, as
seen when comparing the works of Huygens, Jean Benner-Fries
and Waldmuller, all painted in 1848. The intensely Victorian mood
Edward Ladell does not represent 1862 when one sees that
Lafarge's mysterious creation was painted in the same year. It is
of
all,
all
by the
Today
much
sought after
in a
way
31
INTRODUCTION
-jfcW
was not envisaged before World War II. It is amusing to think
that the Roelandt Savery of 1611 (frontispiece) was bought in 1934
for 80, repurchased in the early 1950s for 800, and then when
it came up for auction in 1965 it brought 8,000 - a figure that
now, seven years later, seems quaintly outmoded. Flower paintings
are now restored to the status they held for so long. Their abstract
qualities and timeless content seem to appeal as much to the modern
as to the traditional taste. It is to be hoped that the reader will look
at a flowerpiece and see beneath its innocent exterior the many
centuries of art, history, science, travel, commerce, romance and
symbolism that are the history of flower painting.
that
The
studio of Apelles
that in this
example
it
32
is
(ill.
a flower painting, as
honour
in the
much
foreground.
as
any other,
31.
HAECHT,
Biographies
ADRIAENSSEN,
Alexander (1587-1661)
flemish
member
in 16 10.
years there
fifty
is,
at present, a baffling
no mention of Adriaenssen
elsewhere than in Antwerp where he died in 1661. His friendship with
Rubens and Van Dyck is established. Rubens owned one of his paintings
and his wife Isabella Brandt was godmother to one of Adriaenssen's children.
Van Dyck painted his portrait and the inscription on an engraving of this
portrait describes him as a flower painter. Yet the greater part of his work
without flowers.
appears to consists of
still-life
would be of
like, after
or the
fish
is
typical Adriaenssen
Much
Rubens exhibition
Of the pure
The
type of flower.
the
in
1967
flowerpieces,
the
at
some
flowers the
title of
is
the engraving
in a glass vase
outstanding.
is
justified; the
esteem of
his distinguished
friends merited.
one
is
33
111.
Argcnti Collection in
year,
with flowers.
glass jug with the gilt rim appears in several other works, e.g. in the
The approach
is
very
much
in the
Museum
Antwerp
The
is
chosen
iris, a
vitalitv
smoky Antwerp
blue,
is
a perfect instance
of his brushwork.
of others, must
appK
to
and so many
fish.
The same
made
new examples
remarks,
Adriaenssen
AELST, Willem
The
son
of a
of the guild
notary,
there
in
1643.
He was
dutch
member
32.
AELST,
12^ x 9^
in.
33
AELST
33.
ADRIAENSSEN,
i6| x 23J
in.)
Duke
of Tuscany.
Aelst, in
Italian
common
Known
with
Ferdinand
II,
as Guillielmo
many northern
d'Olando
artists
Amsterdam
Grand
Van
to the Italians,
in 1657. It
is
name
was
said that he
a
a
apparent in
but rich
in
production.
Van
to
is
Holland
until his
sparse in recorded
is
not
in
of
fruit
still-lifes
and other food without flowers, and game pieces of shot birds on
their
subjects are not confined to different periods, as he turned readily from one
at the same date.
As suggested in the Introduction, Van Aelst marks an important turning
point in the development of the flowerpiece in the seventeenth century.
He was an innovator in the type of strongly asymmetric composition as
seen in ill. 72, a tendency only hinted at in De Heem's work. While never
type to another
neglecting the detail of a single flower, Van Aelst began arranging the
whole bouquet into a pleasing, decorative shape with an S running diagonally
34
ARELLANO
as a
among
Lust,
by Van
Aelst.
in the Mauritshuis,
of 1663, with the ribboned open pocket watch, and the similar undated
painting in the Ashmolean Museum, Oxford, appear to be variants of the
the composition.
Elegance and sophistication are also the keynotes for Van Aelst's palette,
a whole range of cool blues from the darkest to the lightest shade as
with
the most distinctive feature, together with a curious misty grey coolness
turn from the familiar full-scale bouquet in a vase to superb small canvases
The paucity
artists like
shown
in
ill.
Van
Aelst,
is
32.
uncommon even
with influential
ANGERMEYER, Johann
Angerme\cr was
active at
teacher Byss.
34
III.
is
Adalbert (1674-1740)
Prague, where he worked
abouts of
a fine pair
were sold
at
la
Czech
in the style
of his
at
There
the
London.
ARELLANO, Juan
de
(26 x 19 cm.)
Christie's in
Born
in.
of Angerme\cr\ work
Schloss,
ANGERMEYER
10$ x 7^
Ncua
34.
Spanish
de (1614-1676)
at
Santorcaz
in
other masters, especially those of the famous Italian flower painter Nuzzi
of paintings
Not only
period, but
at
Madrid
in
1676.
is
if
be hard pressed.
The
nift
of
Spanish
artists,
35
ARELLANO
'$B
been for still-life not flowers. In the era of decorative flower painting in
the second half of the century, Arellano was to Madrid as Monnoyer was
to Paris and Nuzzi to Rome. Like them he became, through large-scale
production, synonymous with a style. Paintings conforming in style, but
not in quality, were nonetheless put under his name, aggravating the
uneven quality of his own authentic work. A further complication with
Arellano is that irreproachable paintings are unsigned - seven out of ten
in the
*
w n
None
^Kk/*)F*
\<Lj
common
-J* '-Wt -
Juan Arellano
at his best.
The very close ties between Spain and Flanders, or more aptly the Spanish
Netherlands, guaranteed that the impact of Seghers was quickly
U d
Li
ARELLANO
35.
27 x 22
in.
felt at
Madrid. Under his sway Arellano painted garlands in the 1650s which
must have seemed the height of fashion, but seem now the least interesting
aspect of his work. The influence on Arellano of Seghers and Nuzzi, the
Fleming and the Italian, are perfectly illustrated in a later bouquet, ill. 35.
The brushwork has become looser with sharper accents of impasto, like
the highlights of the glass, and the simple format of Seghers, a few flowers
in a centrally placed vase, is transformed by a picturesque, mouvemente
effect. It is not simply a question of curling tendrils and cavorting morning
glories; the central flowers seem to rotate on curved stems around the hub
of the passion flower. The vivid blues, reds and whites, accentuated against
a warm brown background, are Arellano's favoured colours.
111. 37, a magnificent flower painting, is totally larger and more lavish
in concept. Yet the same remarks apply. The canvas seems filled with
flowers right to the bottom of the basket. Movement and flamboyance are
still the characteristics of the whole and the parts. Even the Madonna
lilies seem to be growing before the viewer's eyes. The appearance of
Arellano's bouquets and baskets has been perfectly described - as if shaken
by
has found
its
way over
irises
Musee
des Beaux-Arts.
dutch
(1607-^. 1667)
Bosschaert tradition was continued at Dordrecht by Bartholomeus
Assteyn. Born at Dordrecht, he became a guild master there in 1631. The
The
36.
ASSTEYN,
24 x 31!
in. (61
panels.
ARELLANO,
38. (opposite
18
36
X 24
111
below)
signed
cm.)
LINARD,
(46 / 6l cm.)
signed
Important, too,
is
the
influence
intended.
The
effect
f>
s
__
'
viL
^V
AST
40.
AST,
22x35}
signed
in.
(55-9x90-3 cm.)
at
dutch
Bosschaert dynasty was born
Middelburg. Balthasar van der Ast became closely linked with the
he was a more energetic painter, experimenting with different comand painting with slightly freer technique. Such quantitive
remarks are relative, but it would seem there are probably not more than
250 known works. Van der Ast echoes much of his brother-in-law's approach
too,
positions
\l
}1
(.
BRIET,
1690
H{ / ii| in
V\
(oppowtc)
IS in
AST,
signed
(53 X }8 (in
'Red-hot Poker'.
(21 X
286 cm.)
39
AST
and
combination of them
all.
Shells, collected as
avidly as rare blooms, are special to the artist. Perhaps under the influence
1
The pure
all
his
flowerpiece, of
AUBRIET, Claude
French
(1665-1742)
Chalons-sur-Marne, Aubriet was engaged by Jean Joubert to
assist in the preparation of the famous velins du roi. Eventually he succeeded his teacher as official painter at the Jardin du Roi (now the Museum
National d'Histoire Naturelle) in Paris, and joined the ranks of Robert,
Spaendonck and Redoute with his contribution of 394 velins to the hundred
or more volumes preserved at the museum. Before taking up his position
at the Jardin du Roi in 1706, Aubriet had the good fortune to travel with a
celebrated botanist, Tournefort, to the Aegean and the Black Sea. The
journey lasted more than two years, and Aubriet made countless drawings
of newly discovered plants. Thanks to Tournefort, new lilies, the phlox
and sweet peas were introduced into western Europe. 111. 41 is a page from
a collection of drawings m the Victoria and Albert Museum, London.
Born
40
at
BAREN
i64 x 13
in.
384 x 247
BABCOCK,
(419 x ^y
in.
cm.)
BAERS,
The kniphofia, or red-hot poker, was brought to Europe from the Cape
Good Hope in 1707, although it was not a popular flower until the
nineteenth century. The name of Aubriet is known to all gardeners by the
popular Aubrietia named after him. On his death in 1742 his position as
of
signed and dated 1629
27^ x 19I
in.
45. (bottom)
24 x 29+
his pupil,
Madeleine Basseporte.
BA ILLY
(69 x 50 cm.)
BABCOCK, William P.
BAKER
in. (61
749 cm.)
having
at the
first
American
(1826-1899)
who
BAERS, Jan
111.
dutch
or Johannes (?-i64i)
is the only known work of Jan or Johannes Baers, active at
43, of 1629,
Utrecht until his death there in 1641. Not surprisingly in a close follower,
individual flowers in this large and impressive panel were borrowed from
the elder Bosschaert; for example, the little narcissus at the bottom of
the bouquet from
Mrs
Amsterdam
Willem Russell
in
painting by him.
BAILLY, Jacques
The
II
French
(1700-1768)
contemporary of Portail. In 1731 a marriage document refers to Bailly as painter to the king and curator of the royal collection.
111. 44 with its gouache body colour is much harder and crisper than
the work of Portail and an interesting comparison may be made with the
work of his German contemporary, Barbara Regina Dietzsch, ill. 128. Both
bouquets are arranged in similar metallic vases and have a trail of morning
Jacques Bailly
II,
was
BAKER, John
British
(1736-1771)
of the
members
founder
Like Mary Moser, John Baker was one of the
august
the
less
Royal Academy in 1768, but he had begun his career in
setting of a factory
exhibited in the
first
death
at
relied
111.
45 shows
Academy
how much
He
until his
English
artists
flemish
Anthonie van der (1616-1686)
Among the numerous followers of Seghers (see p. 232), Jan van der
Baren is an interesting figure. Born at Brussels in 1616, he was ordained
and became chaplain to Archduke Leopold-William and Emperor Leopold I.
In 1659 he made an inventory of the Archduke's collection which included
BAREN, Jan
4i
BAREN
eleven of his
own
made
his will
1686.
He
left
in
Of
his
death there in
back to Flanders.
illustrated in
Only two conventional flowerpieces by Van der Baren are known. One
it shows a vase of flowers standing in an open
window this work, illustrated in Bernt, is in the Kunsthistorisches Museum,
Vienna. The other, ill. 46 of 1663, is close in style to the two vases in the
Musees Royaux des Beaux- Arts, Brussels, example of 1641. Not suris
prisingly
clarity against a
ill.
320).
The
palette
is
Reds, whites, and blues are the dominant colours with an unusual
purple-striped tulip set off by a golden-orange butterfly. This is certainly
delicate.
BATIST, Karel
Very
living at
in 1663.
centre.
46.
BAREN,
22^ x 29^
in.
x 41-6 cm.)
is
little is
111.
The
47
is
bottom
garlands and stone niche are familiar, but here the centrepiece
symbol of
the Eucharist.
is
De Boer
in
Amsterdam
is
artist.
On
it is
in
1957, and
to be
wondered
a small canvas, a
simple
It is
are very
French
S
\
47
47I x 41} in. (121-5 x 106 cm.)
J i
42
FRENCH
BAUDESSON, Nicolas (161 1-1680)
Born at Troyes, the son of a carpenter and sculptor, Nicolas Baudesson
must be accounted one of the most important figures in French flower
painting of the seventeenth century. His lather was in the employ of a
BAUER
the
740s.
However, the
Nuzzi, have
48.
BAUCHANT, signed
14^ x 17!
in.
(368 x
45-
cm.)
Rome
all
and was
a rival to
therefore
at Versailles.
The
strong blues and reds of the flowers stand out dramatically against a
very dark brown background, yet the touch and colour of the flowers
and terracotta vases, usually centrally placed, and composed the bouquet
without the superabundance of some of his contemporaries.
111. 50 is an excellent example, recently identified as the work of Baudesson.
No doubt others will follow. The narcissi put in with a painterly yet delicate
touch are especially pleasing; similar ones can be seen in a comparablesized canvas at Toulouse. It would be interesting if some details of the
chronology of Baudesson's work were known. Perhaps the tulips and
poppies in a basket, ill. 49, might be from the Italian period and ill. 50
painted in France.
BAUDESSON
22^x314
in.
(56
x79
The
first
woman
BAUER,
Most of
Austrian
Ferdinand (1760-1826)
seem
to
owe
who
visited
Vienna
in
1784. Ferdinand
accompanied Sibthorp on
43
BAUER
Austrian
artist,
Lucas
fc
^zXri
* ^* -^P
.'>
^1
BEERT,
The
(c.
flemish
1580-1624)
date and place of birth of Osias Beert the Elder are not documented.
In 1596 he was apprenticed in the Antwerp Guild and from this a birthdate of c. 1580 is assumed. In 1602 he was a master in that guild, and
BAUDESSON
16^ x 12I
in.
(42 x
325 cm.)
It is
last thirty
has been assessed. Curt Benedict's 1938 article was a starting point. Before
then Beert was known principally as an important master of the early
Antwerp
breakfast-piece.
Some
artists.
It
is
worth mentioning
this
come when
person has
The
a close
known
at a
a qualified
which
by his very individual characteristics. His abundant
bouquets are large and have the archaic charm and brilliance of colour of
the earliest flowerpieces. It is inconceivable that Beert did not study Jan
task of identifying the flowerpieces of Osias Beert, few of
are signed,
is
facilitated
identified as Beerts
86
is
is
for the
martagon
lily.
often of the waisted shape with their broad petals curving to sharp points
De Gheyn
(see
ill.
His
favourite flowers are the blue love-in-the-mist and large roses, seemingly
left
The
rose hanging
downwards
to
are,
There
much
;i
15
.K,
14! in.
44
is
ill.
86
known
is
vitalit]
so
flowerpieces
acute.
BELIN DE FONTENAY
the Introduction. The reader would no doubt now look at the vase of
flowers to the right, notice the overall, symmetrical, well-filled bouquet,
the pronounced top flower, the hanging rose, the cyclamen leaves, the lovein-the-mist, and then identify Rubens' collaborator,
to
first
do so
c.
in 1957.
DE FONTENAY,
BELIN
Jean-Baptiste (1653-1715)
French
Jean Baptiste Belin, sometimes Blin or Blain, was born at Fontenay near
Caen to a family of Calvinist painters. His father, realizing his son's ability,
him to Paris in his teens to study with the great Monnoyer. In 1685
the revocation of the Edict of Nantes, which had previously allowed a
sent
de Maintenon.
One
of his tasks
at
de fleurs\ signed
63^ x 51
in.
''Portrait
d'unefemme entoure
with flowers the lead surrounds of the goldfish ponds. The decoration was
be renewed each year. In another instance the royal gardeners found it
to
made
life
wound
after
in Paris in 1715.
same Christian names, was also a painter and his dates are 1688- 1730.
Jean Marc Ladey was the best-known pupil among those who continued
the
Monnoyer
Stylistically the
work of Belin
is
penchant
may be
help in
rose and tulip, they tend to be smaller and less flamboyant than those of
plates
and gold
J3
1
('
in
}4
/ iH
cm)
The
and dated 1697, is a magnificently decorative example with all these elements
and a monkey overturning a basket of fruit into the foreground.
III. 53, by complete contrast, measures only 13^ x 11 inches. It is difficult
to discern the initials with which, according to Grant's catalogue of the
Broughton Collection, 1952, the canvas is signed. The flowers themselves,
45
BELIN DE FONTENAY
on
this scale
habitually in a large
is
8x
BELLENGE,
11 in. (21
(above right)
324
x 454
n.
x 28 cm.)
55.
it is
One
BELVEDERE
how
Caen
difficult to
(ill.
52). It is clearly
is
Musee
des Beaux-Arts,
BELLENGE, Michel-Bruno
French
(1726-1793)
54
is
early,
but nothing
is
Academie Royale
the
in 1762.
he was
in financial straits
Turkish boudoir
at
Fontainebleau.
BENNER-FRIES,
29X
46
23^
in.
first
like
latterly, the
BEYEREN
Hi
X
o
OS
id
who
in
BELVEDERE,
at
King Charles II from 1694 to I I 00 Soon after his return from the
Spanish court Andrea abandoned painting for the theatre.
for
He was one of the principal painters in Naples during the last third of
the seventeenth century. At this time the Neapolitan School reached its
most exuberant phase with strongly coloured bouquets of flowers arranged
with fruit and flowers before a landscape background. In 1674 Abraham
Brueghel took up residence in Naples and his compositions must have
impressed and influenced the younger artist. Two exceptional small vases
in the Museo Correale, Sorrento, each containing a few flowers, reflect
the principles of Recco both in their simplicity and restraint. However,
the major part of Andrea Belvedere's oeuvre is much more elaborate,
as is shown by another painting in the museum at Sorrento: a canvas of
over two metres and much more typical of his popular style. 111. 55 is not
so large but has that same vitality. The shadows falling on the light stonework are particularly well painted and the romantic effect of dawning day
in the background is a favourite motif.
57
BENNER,
7H*57l
>n-
(98"5 X '45
cm.)
BENNER, Jean
(1836-1906)
French
Jean Benner was born at Mulhouse, the son of Jean Benner-Fries. In 1866
he is known to have visited Capri and in 1869 he was made a Chevalier of
the Legion d'Honneur. He learned painting from his father and carried
on the
style
in the year
visit to
111.
BENNER-FRIES, Jean
Among
(1796-1849)
French
Van Dael and the
in Switzerland,
in Paris
who
French
was Jacob Ber, born
in the
Rhine-
II
111.
rifned
in
(55
5x43 cm
58, an
together, 'Jacobber',
47
BELIN DF
BERGHE,
piece
is
is
work been
identified.
111.
among
an
iris
to the top,
and
little
Ambrosius Bosschaert the Elder (see p. 54). The latter did not leave Middelburg until 1 614, so why should not Christoffel have been his pupil? Yet
Van den Berghe is far from being a mere imitator. His tulips are elongated
in a personal way, and the treatment of the niche and crowded foreground
are more akin to Savery than Bosschaert.
Bol, 1969, has made a most detailed study of Van den Berghe. He has
illustrated three more paintings convincingly attributed to the artist by
reference to the Philadelphia Museum of Art example. Apart from stylistic
comparisons, Bol points to unusual flowers depicted by Van den Berghe.
In ill. 59, behind the stem of the iris is a nasturtium from Peru which
had been introduced into flower-loving Middelburg. Equally, the snowwith their dark blotches to the centre of each petal, to
beneath the top tulip, are also seen in one of the newly
flakes (Leucojum)
the upper
left,
attributed paintings.
BERGHE,
14! x 29!
in.
influenced by Flemish
artists.
He suggests that
it is
much
later
work,
1640, and that the painter had been in contact with the south. Although
this vanitas has the C.V.B. monogram, it is difficult to imagine that Van
den Berghe's style could have changed so radically.
No doubt other paintings, not necessarily flowers, may emerge to resolve
such problems and tell us more of this intriguing and individual follower
of the Bosschaert tradition at Middelburg.
c.
BERJON,
The group
Antoine (1754-1843)
of painters gathered around the
French
silk factory at
He
Thierriat.
The
flexibility
same
60, in the
Musee
111.
an outstanding example
An
is
and
coral, also at
Lyons,
year.
(1615-1687)
French
at Paris,
many generations.
Academy excluded this founder member on
[ON,igned
1
48
(107-5 X ^7
cm
68 1 the
religious grounds,
ho. HI
like
BEYEREN
BERRE, Jean-Baptiste
down
The
flemish
(1777-1838)
and
Antwerp-born Berre painted a variety of different subjects.
Thus he made his debut at the Antwerp Salon in 1802 with a Mater
Dolorosa'. His flowerpiece at the age of twenty-two, ill. 62, is elegantly
accomplished, and although not generally mentioned as a flower painter,
there must be other examples of this genre by Berre.
In 1808 he was attracted, with so many Dutch and Flemish artists, to
the splendours of Napoleon's Paris; and in the next thirty years there
became a regular Salon exhibitor. His works entered many notable collections of the Empire and Restoration. From 1822 until his death in 1838
Berre was lodged at the Jardin des Plantes.
His delicately painted panel of 1798 is well composed. Pinks dominate
from the pale shade of the geraniums at the top of the deep pink of the
bottom roses, all set off by the different light greens of the foliage.
Before settling
sculptor, the
'
French
know whether
BESSA, Pancrace
(1772-1835)
In the case of an artist like Pancrace Bessa
it is
difficult to
he
6l.
BERNARD,
13JX
10?
in.
(35 x 27 cm.)
but to some extent the growing popularity of the sentimental flowerbook both in France and in England led him away from more serious botanical
work. 111. 63, of the geranium, is an example of his skill as a watercolourist.
Bessa was also a regular exhibitor at the Paris Salons from 1806 until 1831
BETTINI, Domenico
Italian
(1644-1705)
Born at Florence, Bettini was at first the pupil of Jacopo Vignali. Then
he went to Rome where he studied with Nuzzi. In about 1670 he went to
the d'Este Court in Modena where works by Bettini are recorded. In 1700
he moved to Bologna and stayed there until his death. He is one of the
artists who helped to spread the ideas of Nuzzi outside Rome, However,
the introduction of light backgrounds is his own. 111. 65 is one of an outstanding pair. The use of a rock as a pedestal for the bouquet is a picturesque
feature of
many
Italian still-lifes
Born
at
dutch
620/21-1690)
for his
attention
The Hague, Abraham van Beyeren would claim
guild
a
painting, and also produced excellent marines. He became
which
(1
member
at
The Hague
in
moved on when creditors became too difficult and like many Dutch artists
Van Goyen for example - was constantly obliged to paint himself out of
debt. Certainly his output was very large and he continued painting until
<>2.
BERRE, signed md
19 m (64 H / 4X
-
dated 170X
<
m.)
Whatever
his
life.
misfortunes
in his
own
lifetime, in ours
Van Beyeren
is
49
BEYEREX
63.BESSA
64. (right)
2'5i
x i8
BEYEREN
in.
(64 x 46 cm.
fish,
probably,
at first,
shelf
loss of a
warm,
finish that
rich coloration.
No
in a
is
made
Dutch
to the
degree of
flowerpiece.
It
was
one of
concession
BINOIT
BIGEE, Charles
Nothing
dates.
is
111.
(active
c.
66
is
flemish
1733-1759)
active at Malines
The bouquet
is
One
of the few
artists
that Bigi
was
Domenico Levo.
BIMBI, Bartolommeo
(1 348-1725)
Italian
Like his contemporary Scacciati, Bimbi was a pupil of Lorenzo Lippi at
Florence and also worked for the Medici family. There are records of
paintings collected by the Medicean Duke Cosimo III of unusual and
often grotesque animals and plants. A sheep with two heads is listed.
None
65.BETTINI
zHx 20I
in
(71 x 53
cm.)
attractive in
with
initials
is
to the
bottom
right
and the
BINOIT,
Peter (1590/93-1632)
German
Cologne, Peter Binoit must be regarded as one of the most important early German masters of the flowerpiece. At some time after 161
he became a member of the Daniel Soreau studio at Hanau, near Frankfurt.
Born
at
His fellow students there included Stosskopf and the Italian still-life
and Isaak,
the distinguished
two among
is
at
Hanau and
married
Frankfurt,
both of 16 13,
at
the
1,
It could
have been inspired by the engravings of Hoefnagel who had made a long
stay in Frankfurt. This stag beetle inevitably brings to mind the little Diirer
drawing of this insect recently sold at Sotheby's, London, for 58,000.
left
Like
'Velvet'
Brueghel,
Binoit
occasionally
painted
remarkable large
BIGEE
66
60
64J
in
lu'ncd
(is? X
tM
5CID
to repeat this
at
Mainz and
51
BINOIT
with the
of 'Velvet' Brueghel, whose work must have been known to Binoit, in that
large cultivated flowers are surrounded by many small wild flowers. The
front edge of the vase is filled with them. His fondness for the brilliant
red and white anemones is evident from their appearance in the earliest
Darmstadt example, sixteen years earlier, in the same position. Indeed,
many flowers appear in both this example and the large Darmstadt panel
of 1620, for example the acid yellow aconites and the rare yellow and
orange nasturtium with its long pointed tail (see Christoffel van den
Berghe). The colours are bright in a very light key and the overall effect
typical not only of Binoit, but of the
is
Soreau
circle.
67.
BIGI,
24! x 15
in.
(63
17
x 38 cm.)
dutch
of con-
artist
Hungarian
c. 1670-1724)
His love
Vienna.
in
studied
Bogdani
Hungary,
Jacob
in
Eperjes
Born
entered
he
where
Holland
him
to
drew
doubt
no
flowers
and
still-life
of
one of a
The
it
style of
is
BOLLONGIER, Hans
(c.
dutch
1600-after 1655)
parrot tulips.
crimson, and
the
same
rightly
lizards in
counted among
lit
from the
BIMBI,
28^ x i6|
in.
signed
68x33
in.
BOGDAM
(172-5x83-9 cm.)
left,
the shadows
<l
the followers
of
More
68.
pre-
BLOEMERS,
70. (opposite
below)
24$ x 29 J
(62 x 75 cm.)
in.
signed
BONNARD
cisely,
in
it,
tradition,
it is
Amsterdam,
in a
How inexplicable that Bollongier should be the only notable flower painter
of the period
at
flower-loving Haarlem.
French
BONNARD, Pierre (1867-1947)
The major exhibitions organized in 1967 to mark the centenary of his
birth made us aware of Pierre Bonnard as never before. The Royal Academy,
London, much to its credit, did justice to this great painter who had become
one of its honorary members in 1940, at the instigation of Augustus John.
Walking round the exhibition, the first sensation was colour. Bonnard's
sense of colour was a gift that formed the basis of his painting 'Colour
can be better justified than drawing', he said. All his instinctive love of
nature and of life is expressed in his colour which seems to grow in radiance
throughout his career. Bonnard's is a carefree love which dwells only on
happiness and joy; ugliness and sadness have no place in his work. Then,
the viewer was struck by the variety of subjects and sizes on which he
:
worked. At the end of the exhibition, the experience left the visitor very
contented but paradoxically no nearer to defining the art of Pierre Bonnard.
Perhaps the mistake is in trying to do so, in seeking to hang an essentially
independent
artist
on
In this context, by
its
unbelievable
Napoleon
III
Edouard Vuillard.
which the writer is especially grateful to the direct descendants
of the artist's wife, dates from about 19 10. It is painted on wood, which
intimacy,
111.
87, for
the artist uses to 'show' throughout the composition as a colour, a characteristic of many paintings on panel and cardboard. Bonnard's palette has
lightened from the closing years of the previous century and shadows
become more intensely colourful. Compared to the 'linear', controlled
Metropolitan
Museum
of Art,
New
is
is
much more
Impressionistic.
as in a painting like
'Anemones'
first
decade.
less
Renoir
whom
he called upon
at
Giverny.
53
BONNARD
Bonnard's 'Field Flowers', ill. 87, are most typical for the red of the
poppies, perhaps the most important colour on Bonnard's palette and used
in every
title is in
shade again and again. Another beautiful example with the same
the Albright Art Gallery, Buffalo, New York. Indeed, there are a
War
where the
brilliant red
poppies are the arresting note: for example, the bouquet of 19 14 illustrated
in colour in the Dauberville catalogue from a Swiss collection.
is
museum
at the
who
a painter
appears to be
1807, suggests by
its
format that he
French
known
111.
which
is
to the large
group
manufacturers.
silk
dutch
Born
at
71.
BORELY,
13x93
in. (33-
ix
25-
cm.)
From tke small number of his known paintings, Abraham does not
appear to have followed his father closely, as did Ambrosius the Younger.
Nor does the influence of Van der Ast, significant for Johannes, appear
markedly. Abraham favoured an oval format: for example, ill. 74, recorded
Bol page 91, and a similar painting illustrated in Bergstrom, page 87,
where the same pale blue and white Chinese vase holds the bouquet. Similar
vases were used by different members of the family, particularly Van der
Ast. The signed and dated pair on copper, belonging to Lord Fairhaven,
are also oval. The latter are not mentioned by Bol in his rather brief section
on the artist.
in
The panel illustrated has a distinctive cool, silvery tone with a light grey
background, pale reds, yellows and pinks. Although there is no relationship in composition, style nor individual flowers, this rather elegant and
subtle, cool tonality and the well-suggested spaciousness of the background are a reminder that Savery was the leading flower painter in Utrecht
until his death in 1639.
Abraham seems
to
the large pink rose with the outer petals drawing back.
spider hanging on
its
The
fritillary is
motionless
an entertaining
and not part of the regular family repertoire. Yet the more characterAbraham's treatment of drops of water in an elongated rather
than round shape on the stone ledges. Apart from the 'pointers' which
such mannerisms provide, the spindly signatures of Abraham and Ambrosius
the Younger, often confused, have now been identified. Each signs with
an initial A only and the surname, but with Abraham the A and capital B
are joined and slope to the left against the natural right-hand slant of the
detail,
istic detail is
rest
of the signature.
BOSSCHAERT,
Born
72. (opposite)
',
54
in.
1. 1.
(62*5 X
SI
40.
cm.)
at
Antwerp
in
so
northern provinces.
He
left
flemish
main Flemish
to settle in the
who
settled
in
BOSSCHAERT
Breda.
On
a visit to
last
73. (opposite)
10
x 12I
in.
BAUER,
(483x3 13
cm.)
two years
work
for
produced about fifty-five known works in his twentyfrom 1593 to 1621, twelve of these were definitely
painted in the last three years at Breda, including two of the largest and
most elaborate, making an average of a painting every twelve weeks.
Even more intriguing is the mystery of Bosschaert's early years in
Middelburg. Two paintings, a fine one now in the Cleveland Museum of
Art, Ohio, and a small and excellent one previously in the possession of
the Hallsborough Galleries, London, bear the date 1606. These are the
earliest known dated works. What happened in the thirteen previous years
from 1593 when Bosschaert, at the age of twenty, would have been a fully
qualified artist ? The appearance of an unknown Bosschaert flowerpiece is
rare enough, but should a painting of this earliest period come to light,
would perhaps answer questions not only about one of the founders,
it
is
eight-year working
life
century.
Two
encountered
lizard, not
Utrecht
in
the most
1619,
in a
same time
the
at
(ills.
famous Bosschaert of
as Bosschaert.
The
p.
229) was in
third one
(ill.
85)
is
all
need be made
\tter this
little
overlapping.
The
links
clearly
out ot
.1
(intiiries
come
to
mind
in this context.
produced
\s to the
in
brushwork on these
of
little
copper panels,
it
74.
BOSSCHAERT,
14I x
1 1
in.
Abraham, signed
(375 x 28 cm.)
57
BOSSCHAERT
Brueghel and Seghers. The effect is to hide any trace of how the flower
when one looks closely, Bosschaert has achieved this finish
without laboriousness4 It would be unrewarding to attempt a verbal description of what the eye can barely comprehend, the mystery of how
Bosschaert painted his unique bouquets. In the words of Bol, 'the radiant,
transparent lucidity is like an echo of Jan van Eyck and a prelude to Vermeer'.
like
is
The
many
ill.
fly
The downward-pointing
times.
The
its
latter
is
ill.
85, lower
definitely a characteristic
same
together in the 1621 painting with the transparent dragonthe top in the
latter.
its
leaves
(ill.
75)
is
very similar to the Cleveland example and basically the same fourteen years
(ill. 77). Although Bosschaert may have kept the same drawings to
work from, the minute botanical accuracy and the freshness of his invention
later
The
personification, as
it
founder role had an influence that went far beyond his immediate circle,
mentioned above, to set an approach and style to flower painting that
remained unchanged until the middle of the century. Ambrosius Bosschaert
his
the Elder
is
it
is
Dynasty by L.
J.
Bol, to
which
all
dutch
his best
1621,
Ambrosius must
have studied thoroughly with him. His early work, both flowers and fruitpieces, closely follow his father's and his adoption of the same interlaced
AB monogram
high, in the
58
76.
BOSSCHAERT, Ambrosius
dated 1634
16 x 11 in. (407 x 28 cm.)
BOSSCHAERT
75. (opposite)
BOSSCHAERT,
BOSSCHAERT,
dated 1621
I2f x 8t
78.
in.
(31-6x21-6 cm.)
BOSSCHAERT, Jan
40 X 32
in.
Baptifte, signed
very strong, with oxblood and white columbines, and a large blue
top flower, set off by the brilliant yellow rose. Yet the whole
is
iris
much
as
less
and the treatment of individual flowers, like the striped tulip, quite
Ambrosius cannot be said to be as talented as his brother
Johannes, his work is more varied and his style evolved in a more 'modern'
static
distinctive. If
vein.
BOSSCHAERT, Jan
flemish
Baptiste (1667-1746)
Antwerp, Jan Baptiste is unrelated to the Bosschaert dynasty of
the earlier part of the century. Nor is there any relationship between the
decorative Antwerp flowerpiece, typified by ill. 78, and the work of the
forerunners. Bosschaert was the pupil of the obscure Jean Baptiste de
Born
at
59
BOSSCHAERT
Xo
to 1689,
and became
a guild
member
life at
BOSSCHAERT, Johannes
The
161
The
1.
of the most gifted of the three sons, the least information survives.
Clearly, Johannes studied with his father until the latter's death in 1621.
Then, aged about ten, he probably came under the care of his famous
uncle, Balthasar van der Ast (see p. 39) at Utrecht. Nothing could have
been more natural than that Balthasar should instruct his nephew, just
as the boy's father had instructed him in his own debut. Johannes' widowed
mother went to live with her brother in 1628, but Bol shows some evidence
that Johannes may not have stayed with his family in Utrecht, but may
have gone to live in Dordrecht. The date of his death is an estimation.
Taking the established birthdate, c. 1610, and the evidence of a complete
mastery of his art in a dated work of 1624, ill. 88, the conclusion is inescapable: Johannes Bosschaert was a child prodigy of almost Mozartian precociousness. The idea of a boy of fourteen producing an adequate painting
is not remarkable in the period; the astonishing thing with Johannes
Bosschaert is to be confronted with such superlative work at this age.
Both the format and composition are the artist's characteristic ones.
They
influence
is
Yan der
Ast.
and
The
latter's
slightly broader
still-lifes in his
uncle's
The same
when
79
BOUILLON, signed
|6j in. (88 x
17 cm.)
ill.
85, the
plate also
Eschewing comparative judgments and meaningless superlatives, nonetheless I feel this entry would be incomplete without a comment about the
illustrated painting (ill. 88). The quality and perfection of this example
may serve as a yardstick by which to measure not only the few known
works by Johannes Bosschaert but, hopefully, those that still await discovery.
BOUILLON,
Of the
in
60
flemish
Michel de (active mid-i7th century)
appear
not
do
known
and
the)
de Bouillons of Tournai, very little is
reference books.
BROECK
Of
dutch
contemporary of Bloemers, this artist spent his short life as a stilllife and flower painter at Amsterdam, where he was born and died. His
teachers were Jan Evert Morel and Van Os, and like them, he has a
style that derives from the Van Huysum tradition. The similarities to
Morel can be seen in a comparison of ill. 80 with ill. 247 by Morel. Brandt
has here included several choice flowers which were his favourites honeysuckle, rhododendron, mallow and, top right, lemon blossom.
:
BRAY,
80.
BRANDT
26gx2i|
in.
(67
x55 cm.)
principle genre,
woodcuts.
illustrator
Only two flower paintings by Dirk de Bray are known - one in the
Van den Bergh collection in Holland, illustrated in Bol, 1969,
and the slightly smaller panel in a private collection (ill. 81). Both are
dated 1671. Looked at without the evidence of this date, De Bray's simple
bouquet could be much earlier, by comparison with Bollongier (ill. 27)
and Calraat (ill. 98). Yet the placing of the vase in the background with
large flowers lying in front would obviously have been unusual with
the earlier masters. Equally, the effect of airiness and depth are very
marked, as if the bouquet were standing in an open sunlit garden. De
celebrated
overlapping.
The
The
is
seen best of
all
in
dutch
den (1650-1708)
Broeck's place of birth appears uncertain, but by the age of fifteen he was
a pupil in the studio of Kick (see page 153) at Amsterdam. In 1673 he
became a master in the Antwerp Guild and in 1685 moved back to Amsterdam, where he stayed until his death in 1708. The story that he was forced
to leave Amsterdam because of rumours that he cheated over butterflies
is delightful. Instead of painting them, he was accused of sticking real ones
Hi
MR AY,
l6
ijj
in.
on the canvas!
The
(ill.
83),
is
his best
known.
61
BROECK
bottom
82.
BRUEGHEL,
50 x 69
in.
Abraham, signed
For example,
light shining
at
Antwerp
in
1631,
flemish
the second son of Jan
Brueghel the Younger. As a young boy he learned painting from his father
and obviously showed a precocious talent, for his father recorded the sale
of
of a painting by Abraham in 1646 when he was only fifteen. At the age
service
the
entered
immediately
and
Italy
eighteen Abraham was sent to
of Prince Antonio Ruffo at Messina in Sicily. (Prince Antonio Ruffo is
best
known
commission to Rembrandt for the 'Aristotle ContemIomer\ in the Metropolitan Museum of Art, New York,
for his
plating a Bust of
(>2
84. (opposite)
BRUEGHEL,
14 x 10 in. (35-6X
254 cm.)
Ambrosius
BRUEGHEL
after 1671,
At first
and occasionally these early works have been attributed to him. However,
when he arrived in Italy, Abraham at once turned to painting garlands in
the manner of Seghers and worked in collaboration with Carlo
Maratta
and other Italian figure painters. An example of his garland painting hangs
in the Pitti Palace, Florence. Abraham Brueghel is best known,
however,
for his large fruit and flower compositions made during the last
thirty years
of his life. It seems most likely that the Flemish artist, working away from
his compatriots, adapted himself to the taste of his Italian patrons
and to
the influence of his colleagues in
Rome and
Naples.
82 is a fine example
work of Campidoglio
and Andrea Belvedere. Signed and dated 1674, was painted in Naples.
With several separate bunches of flowers set against a background of a
waterfall, fountain and dramatic sky, the very abundance of the composition
is
111.
83.
BROFXK,
36 x 27J
in.
signed
(915 x 69 9 cm.
BRUEGHEL,
bloom.
Ambrosius (1617-1675)
flemish
Born at Antwerp in 1617, Ambrosius was the son of Jan 'Velvet' Brueghel
and his second wife Catherina van Marienberghe, and thus the half-brother
of Jan Brueghel
II.
Information
is
and work of
Brueghels have
life
lesser
1645 joined the guild there. Because he rose to eminence in guild and civic
before his death in 1675, noted as a flower painter, it is all the more
tantalizing that the rare flowerpieces under his name are there by attribution,
life
On
these grounds
one of a pair of panels from a dismay be confirmed in its longstanding assignment as an early work of Ambrosius Brueghel. The flowers have the clear
brightness of colour so characteristic of Antwerp, and the brown shelf
the family.
ill.
84,
may
readily be
made with
Oxford, with
its
BRUEGHEL, Jan
Born
at
Brueghel,
less
flemish
nickname
'Velvet' or 'Flower'
63
BRUEGHEL
When
of her work
no reason to doubt Van Mander's statement
that she
instructed her grandson in watercolour painting
and that he then learned
oil painting from Goetkindt in the
1580s at Antwerp. In 1589 the twentyone-year-old Jan began his travels. Leaving for Italy
via Cologne, he visited
Naples and then Rome, where he is noted in
1593 and 1594. Cardinal
Borromeo on a visit to Rome met the artist and took him
back with him to
Milan in 1595. Although Brueghel took leave of the cardinal
remains, there
is
became
the following
precious letters between
information about, and insight
The
Jode, daughter of an
engraver, was born one child, Jan Brueghel the Younger,
a painter who
imitated and commercialized his father's work.
Soon
widowed,
'Velvet'
period.
When
cholera struck
Antwerp
in 1625,
among
when they
do
flattery or fee.
collection of
their best
own
work not
Count
be
added
that this
is
a relative
still
>
abound.
It is generally
held that Brueghel only turned to painting
flowers in the latter, post-1600,
part of his career. Surely he must have
painted watercolour studies of
flowers with his grandmother and ventured to
paint them in oils before
8?
18
64
RrKC 1HrDT
""^ ""
17^%?*'
Xc
!
(()Vcrlcaf right)
x 14J
in.
BONNARD
(45-8x37-5 cm.)
8igned
^^
-r
H
VW^mHHm^ammmi
BRUEGHEL
Like his friend Rubens, Jan Brueghel was possessed of that torrential
which the thought alone leaves us rather breathless.
Flowers of every kind, in every vessel, woven into every garland, conjured
into every composition, Brueghel painted them all. A Brueghel tub
is
creative force of
homely term often used to describe the most majestic of his creations.
99 shows a famous one which, like Noah's wooden Ark, seems to
hold every flower in creation. Nearly two hundred flowers of forty different
the
111.
111.
in
19,
the
was only through the gift of this technique, where the artist seems almost
be drawing in wet paint, that Jan could bring to completion, not one
such magnum opus, but repeat and vary the composition a dozen times.
The famous panel in the Alte Pinakothek, Munich, is repeated, for example,
to
Museum, Vienna.
breadth and sweeping strokes does not, of course, mean that
Brueghel considered the least sacrifice of detail. On the contrary he gazed
on his subject with the scientific eye of his age; so that from the stamens
of the crown imperial at the head to the fibres on the roots of the cyclamen
To
talk of
in
Of course the treatdemocratic and the snowdrop receives the same attention as the
exotic lily. To stand back from the great Brueghel tubs is to behold a
magnificent composition of colours, to draw near is to be awestruck by the
ment
is
monkey
just
in
mind.
90 shows a less opulent garland in a quite different setting but it is
made up with the unerring sense of colour and variety which, like clarity,
came as second nature to Brueghel. The gold vessel, the jewellery, the pearls
on the purply-pink shelf do not clash so much as complement the sharp
111.
HH (opposite above)
signed and
dated 1624
Mi x 2i\ m (36-8 x 54-6 cm.)
artist's
may have wanted to let jewels challenge his flowers, confident of the outcome. He wrote to Cardinal Borromeo on an earlier occasion, 'I leave it
to the judgment of Your Lordship whether these flowers do not surpass
gold and jewels'. Commentaries on Brueghel's flowerpieces soon lead the
writer into contradictions and bafflement: natural, yet highly contrived;
sophisticated, but joyfully primitive; simple, subtle, refined, what words
CAR A VAGG 10
may be
ruled out?
69
BRUEGHEL
90.
BRUEGHEL, Jan
i8| x 2oi
in.
(476 x
52-
cm.)
again
in
bouquets
there
lilies;
at
is
the Staatliche
Museen,
Berlin,
which
also have
imposing
In contrast to the
scarcity.
BRUSSEL,
70
at
91. (opposite)
283x211}
in.
BRUEGHEL, Jan
(73x543
cm.)
71
BRUSSEL
medium
is
The way
a replica.
Van
Huysum manner
Dutch
artists
following the
Van
moved
make way
for a large
bunch of
is
BRUYERE,
French
Elise (c. 1776-1842)
In the nineteenth century sketching and painting joined music as one of
which
ladies
must be counted
a 'professional'
and not
merely a gifted amateur; indeed, of the many ladies who studied flower
painting under Van Dael, the great Fleming, she was the most distinguished.
She first exhibited at the Salon in 1802 and became a designer for the
Sevres porcelain factory. There is an interesting work now at the Musee
Classe des Beaux-Arts, Valenciennes, which, unfinished at her death in
1842, was completed by Chazal and then exhibited in the Salon of 1844.
The
rose in
ill.
to Chazal's roses,
ill.
106.
similarities
BRUYN, Johannes
dutch
Cornelis de (active c. 1763-f. 1828)
Middelburg,
one
of the
In 1763 De Bruyn is mentioned in the guild at
vital centres of flower painting a century and a half before. He is noted at
Utrecht from 1800 to 1810, and at Amsterdam from 1816 to 1828. 111. 93,
a very decorative canvas of 1801, has luxuriant foxgloves {digitalis)
con-
Solothurn
at
in
Swiss
Josef Byss. As
of
evidence
his
72
life,
of his
presence
in
twenty-five years of
92.
BRUYERE,
13x9!
in. (33-
signed
ix
24-
cm.)
BYSS
93. (opposite)
}o X 25
in
(76
BRUYN,
2
63
urn
Mainz. He died at Wurzburg in 1738. His sister Maria Helena Byss (16701726) and Angermeyer were pupils.
Byss was by no means confined to flowers and painted religious and
figure subjects and landscapes. Birds feature in many of his paintings: for
example the 'Landscape with Birds' of 1704, in the Narodni Galerie,
Prague (seen at the Victoria and Albert, London, exhibition, Baroque in
Bohemia, 1969). At the Neue Residenz, Bamberg, there is a bust of a child
in a
is preserved at
94, of 1701, at the Staatliche Kunstsammlungen, Kassel, appears to be one of his finest flowerpieces. In every
respect, format and symmetry, this bouquet might belong to the earlier
Wurzburg.
111.
its
The
frog lurks in the shadows and one must look closely to see it. How interesting
it would be to know if Byss studied the work of Savery which he could
have encountered at Prague and Vienna.
73
CAFFI
CAFFI, Margherita
(active
c.
1660-after 1700)
Italian
The paintings of Margherita Caffi tell more of the artist than any documents.
Almost nothing is known of the artist's life. She appears to have been
born
in the
north of
Italy,
perhaps
at
worked
for the
Tyrolean
a private collection in
in 1660.
There he worked
for
King Leopold
1663.
95.
CAFFI,
235 x 18J
in. (59-
x 48 cm.)
in the style of
attributed to him.
the Boston picture as a Caravaggio and even after the 1964 Naples exhibition,
CALRAAT, Abraham
dutch
van (1642-1722)
Just as paintings with the initials B.v.A. were once very reasonably given to
Balthasar van der Ast, so certain works marked A.C. were given to Aelbert
We
know now that the B.v.A. was Bartholomeus Assteyn, and the
A.C., Abraham van Calraat, both active at Dordrecht.
Abraham van Calraat, also spelled Kalraet, was born there in 1642, the
son of a sculptor, and died in 1722, which may be something of a record
Cuyp.
age for the period. In addition to sunlit landscapes, horses, and so on, in
close imitation of Cuyp, Calraat occasionally turned to still-life as did Cuyp
CAGNACC1
96
27 X 20J
74
in.
is
much warmer.
Intriguingly
initials.
The
ill.
tulips, striped
with different
CAMPIDOGLIO
reds, arc
much
in
To
waxy
lib takes the eye, but the most unusual flower is the iris in the centre whose
white petals are dabbed and spotted with black, with little orange diamonds
is
97.
CAMPIDOGLIO
39^x52^
in.
100-3 x
i33cm.)
ends
IMPIDOGLIO,
Verj
little
is
known
Michelangelo
of
documents
refer to
him
ITALIAN
di (1610-1670)
as
known
pupil of the
working
as
Michelangelo
Roman
di
fwravanli, but
665.
It
made
with
in
possible that
Abraham Brueghel,
the background.
ill.
typical of
appear
is
Ft
is
ill.
1660.
82,
parrot perches
A comparison must
where similar
trees
is
again be
and fountains
CAMPROBIN
much
seventeenth
later
century, stands next to a plain glass bowl with two flowers, whose stems
are seen completely through the water, a characteristic of early fifteenth-
century
is
no
Madonna
panels.
Throughout the
ment and
book there
Their align-
illustrations in this
vessels.
may echo
By
recalls
is
CALRAAT,
1.
19
signed
to
obscure
Italian
The
sad truth
is
that
at
Florence.
The
to
learning from painting his own reflection and trying out different facial
expressions. This applies particularly to the 'Boy bitten by a Lizard' whose
and hands are expressive; but still the eye is drawn to the glass vase
its stems in the water and droplets of water on the outside, all caught
in the strong contrast of light and dark, the dramatic chiaroscuro of Caravaggio, continued and elaborated in all his work. As the vase in the centre
is so similar, did the painter of ill. 89 know this painting? Did he know
the vine leaves lapping over the edge of the ledge in the 'Ailing Bacchus
in the Galleria Borghesc, Rome, and put them on the left here ? The lute
player in the Hermitage, Leningrad, had a dark glass vase of flowers with
face
with
<><>
(opposite)
V) y
7'>
Mh m
15
EGHEL,
I2 4 '5 x '/' 2
<-'m.)
jfr
"
<
>..
CARLSEN
iris
Caravaggio's later work, the very light shelf, of palest stone or marble,
with the scattered fruits casting such shadows, immediately brings to mind
Emmaus'
still-life,
did not
paint independent flowerpieces which are lost or destroyed, and they need
Rome. On
of
first
fruit against a
Monte.
It
was
justly
is
Monte
sent his canvas as a gift to his fellow cardinal, Federico Borromeo, for his
gallery at
irresistible.
An
when
Milan,
Rome
whom
1595? If
in
is
Jan Brueghel
his biography,
he was in service in
101.
CAMPROBIX,
3o|x2iiin.
(78
x54
cm.)
so,
it
again, Brueghel
Rome
in
The
still-life
position of the
basket of
illustrated
fruit.
example
Many anonymous
here,
is
illustrated in Sterling
com-
flowers.
CARLSEN,
American
Emil (1853-1932)
Born in Denmark, Emil (.arisen was the brother of the director of the
Danish Royal Academy. He moved to America in 1872 and taught at the
Chicago Art Institute before going to Paris in 1875. Carlscn studied the
work of Chardin closely and pair*ed similar subjects against a dark background. Having already established himself in New York art circles,
Carlsen's work sold readily, especially his yel'ftw roses. This income sustained him during his two years' stay in Paris, and on his return to America
he seems to have remained best-known as the painter of yellow roses.
III. F02 of iS(>7 is of yellow roses and violets. Contact with Impressionism
lightened his palette and backgrounds but his basic approach stopped short
of using an Impressionist breaking up of colours and brushstrokes. It is
Manet rather than Monet, so to speak. The exhibition at Hirschl and
\dler Gal'vries, New York, in 197 1, where this typical example was seen,
offered an exceptional opportunity to admire Emil Carlsen. There was a
still-life with brass bowl and white duck, in^jhe Chardinesque manner
described, and a large canvas of white and VWlow chrysanthemums of
1885, rivalling the work of Chase. It was possible to appreciate the very
100. (opposite)
30! x 24I
in.
BRUSSEL,
(78-4 x
6r 2 cm.)
79
CARLSEN
102.
CARLSEN,
i5s x 14!
in- (40-3
103. (right)
CASSATT,
23^x i8in.
signed
Cassatt
came from
Italy,
style.
American
From her
the old masters and completing her education. Against her family's pre-
ferences she settled in Paris to study painting. She first exhibited at the
Salon of 1874 and continued to do so, although her attention had been
attracted by the work of Manet and especially Degas. In 1877 the latter
asked her to join the group and exhibit with them. She did so with enthusiasm,
like
Berthe Morisot
The
inclusion of
Mary
Cassatt,
who
painted
80
CASSATT
the slowest of
all
104.
CASTEELS,
28 x 39
in.
(712 x
99-
cm.)
to appreciate the
Degas
young American
lady, Louisine
Mary
Cassatt. Louisine
The collection,
like
those of so
many
now
enriches
collection
Mary
Mary
is
the model.
herself,
8l
CASSATT
CASTEELS,
Born
he
is
flemish
Pieter (1684-1749)
as early as 1708,
at
a family
of painters of which
said to have
Antwerp show
been
in
England
about 17 12. His very decorative flowerpieces and bird subjects found a
ready following in England where he spent his career before his death at
Richmond upon Thames in 1749. 111. 104, a signed and dated canvas of 1720,
in
is
rooms
mam-
published in 1730 as
ill.
23 in the
Introduction).
of writing.
CEZANNE, Paul
The tedium
a
French
(1839-1906)
hundred years
to the
but even
among
a vastly
princes,
With only
870s built up
a fine collection
of Delacroix watercolours.
When
the
of speculation.
The
thrill
of backing his
them
as
own judgment
of the
artists
he
it
bedroom
at
were
The
whom
public were
82
something of
a crisis for
through Chocquet's
moved. Cezanne's
less
Cezanne
Inadvertently, Chocquet
at
home.
pre-
CEZANNE
at
Aix
in
with Les
Cezanne was pleased to be asked to exhibit
Chocquet asking for the loan of the Mmson
Vingt at Brussels and wrote to
also
Paris) to send to Belgium^ However,
du Pendu' (now in the Louvre,
with invitations to
authorities were less forthcoming
in .880, the Paris
over the
intervene on the artist s behalf
exhibit and Chocquet tried to
several years afterwards Cezanne
World Exhibition. At this time and for
Provence, steadily working. Although
was much of the time secluded in
Wt
h
in the early .890s, his ' h
diabetes began ,0 attack him
one problem was solved. After long
him comfortably off, so that at least
Caillebotte bequest was accepted
wrangles some at least of the staggering
Cezanne saw his work enter a
and
by the authorities of the Luxembourg,
Cezannes sold at auction
Paris. In 1894 Duret's three
^Three' years
later
public gallery in
wTsome
interest
and
few weeks
among
Sne
Lum're
it
like
period of
Cezanne the early .890s were a
or without support, for
enindiscriminate
The
- a kind of synthesis of his art.
arnstic matu ty
Impressionism
with
and the long flirtation
hus IsiTof his volatile youth
structure
the demands of geometric
painting
his
weTcThTnKs of he past. In
Pl
With
were approached by
into nature',
111
to
is
as painstakingly slow a
Cezanne wrote.
work dated from these
brush as ever.
o , ,,
years, 1890 to 1894.
see
more
lucidly
fmnne found
touno
Cezanne
pmtlho warned
"
in
technique and
GaChC,
'
TadVr
mood
^P^J^L"SS
elements^ the
with
^^^^teo-n
"w"
S m pZ.
in purs
gr
misgivings, had progressed
of perfection.
The
&
sale.
83
CEZANNE
regarded as
a still-life.
In 1899 the 'Vase of Tulips', now in the Chicago Art Institute, was sold
together with thirty-one other Cezannes from the collection of the late
Victor Chocquet.
Russian
as the
when
summit. They had met for the first time in 1909, the year before the artist
first came to Paris and they married in 19 15 after Chagall returned to his
native Russia. He had decided to settle in Paris in 1923 and it was a Paris
of contentment, with the anxieties and struggles of his earlier stay and the
opposition in Russia largely a thing of the past. Perhaps in the prime of
his life, he was never again to know such idyllic pleasure for the 1930s were
to bring shadows to Europe, the agony to Chagall of the suffering of the
Jews symbolized by Goebbels' order to burn his paintings at Mannheim,
crisis, and another war meaning flight from France to refuge in the United
States. When the uplifting news came that France had been liberated and
they could return to their adopted country, it was crushed by the death of
Bella on 2 September 1944.
The art of Chagall, which is the wondrous unspoilt world of a child's
imagination, is more bound up with flowers than that of any other modern
artist. Chagall has put them into his paintings at all times, woven into his
tapestries, built them into his great church windows, modelled them into
ceramics and bas reliefs. For Chagall, flowers are symbolic and synonymous
with love. If one thinks of a typical Chagall, it is of his 'Anwureux' either
together in the middle of a bouquet or floating free in the sky with a great
bunch of flowers linking sky to earth, and expressing the mood which the
lovers feel.
The
circus, so
much
little
canvas
a part of
(ill.
Russian
is perhaps a mental
and so strong a motif
120)
life
like
The
It is
Chagall's
unique fashion of folklore and fantasy. His sense of the beauty and colour
of flowers had been identified at this period through working in the Mediterranean light at Mourillon on the gouaches for the illustrations to Vollard's
edition of La Fontaine's Fables. Unlike artists of the past who turned from
other, often religious subjects, to paint flowers, with Chagall they are not
divorced but rather part of his religious intensity.
They
are
hymns of
in the
decoration of a
own wedded
love of
84
God
bliss, he does
mankind. Simplicity
life.
If,
in this
is
bouquet, Chagall
tells
of his
so in the simplest,
CHARDIN
y penetrant*
fleurs
(I
air,
came
in).
CHARDIN, Jean-Baptiste-Simeon
^1*1^*1
(1699-1779)
facets of Edinburgh
indifferent to the many historic
Even thelover of painting
P
at the
and be drawn to a work of gemus
Should feel he p u ll from afar
by
JeanVase'
Scotland - 'Flowers in a Porcelain
Nattnal Gallery of
the biographical
t:^' besup ern uou g* onCharSn,
published
details.
first
Wildenstein's
ed ion in Enghsh of
standard work among the
portraitist,
The
revised
in ,o 3 3,
the
Chardin,
many books and articles devoted to
one instance, flower
still-life master, and in
S enre painter,
flowercanvas is now the only surviving
painter Although the Edinburgh
the
four others dating then,
Chardin, Wildens.ein catalogues
piece o> en
of
Salon
the
on e of which was exhibited at
6
and
Chardm's art reached its full mastery
d
/he e
peas in their porcelain
carnations, tuberoses and sweet
his simpk bouquet of
power and intensity
a work of such shimmering
ase rtransformed into
Impressionism to another
forward in time through
it seems to race
Cezanne
whose art was late in its full maturity,
nainter
P
about Chardin and
information
is the
So toaikd and comprehensive
exhausted. Yet in
tempted to think it a sub,ect
h,s work hat one might be
he
to say something new
befng faced with a struggle
r ato tste d of
Chardin. The aspect mos neglec^d
tort finds muchyet to explore in
and Fare, is the influence
although referred to by Sterling
pecbv
^ uts
hv Wildenstein
"of Rembrandt.
How
name to
tempting .0 link one great
br
thought the same thing of Rem
aris
Pans
T
u Aved
A
ramp to
fo p
came
When Jacques-Andre-Joseph
andl
me
I720 s
in the,17
Yet t-naroin s e
y
and now in the Louvre, Pans.
rather than ^Dutch
Flemish
a
show
a v\ do
sn1
comment on t
Largillicre was asked to
there so ve ry
have,
'You
remarked
their author, he
^*^
^ ''
,
he met
when
know ng
,
fine pic
P tures.
of Flemish art.
change. Gradually,
wen a profound
underwent
P
s work_und
In the 1730s, Chardin
of his
F lification
iveway
the tnv al
are _
the anecdotal incident,
very
few
e
stl .lifes. A
spaced wrth,th 1 e v a b
fully arranged and
an endkssly
^
^^Sb^P^
85
CHARDIN
tempting to compare
it
to
art
towards the calm, almost meditative light of the Dutch masters, towards
understanding of the artist whom his friend Aved so admired.
a better
its
such
as
that
in
Chardin, seems to
this 'wizardry'
who wrote
Andre Gide
The
in
vagaries of taste
would account
for
common
unwanted. Marcille,
with
many
a collector
many
many
of these
Among
CHASE, William
American
Merritt (1849-1916)
played a decisive part in the career of one of the best-known of
American nineteenth-century painters, William Merritt Chase. When he
Still-life
to
readilv,
subsequent
H \si
\2\ in
86
signed
(39X
31-1 cm.)
visits.
Chase was an impressionable artist and his work reflects the fact. His
many fish still-lifes seem rooted in the traditional, old-master-studying,
Munich approach; then again, other still-lifes were influenced b\ Yollon,
CLAESZ.
CHAZAL,
French
Antoine (1793-1854)
Born at Paris, Antoine Chazal was a versatile artist who painted religious
and historical subjects as well as flowerpieces, and drew botanical, animal
and medical studies. Chazal was a pupil of Gerard van Spaendonck and
Misbach, and first exhibited at the Salon of 1822 and did so regularly
until 1853, including a joint exhibit with Klise Bruyere in 1844. He was
appointed to a professorship at the Jardin des Plantes and was awarded the
Cross of the Legion d'Honneur in 1838. In the tradition of his teacher
Gerard van Spaendonck, Chazal's Flore putoresque were published in 1825.
However, his contribution, with other artists, to a fine volume of crocuses
was not published and is now in the library at the Royal Botanic Gardens,
Kew. Chazal also illustrated several medical books. In his role as a botanical
and animal draughtsman at the Jardin des Plantes he was commissioned to
make forty watercolours of plants in 1840 for the Medical School in Lexington, Mass., where they are still to be found.
111. 106 is a delicate bouquet of summer flowers with pink roses dominant
against pale, soft green foliage. The obvious accomplishment calls for no
comment, and Chazal must here represent the many French artists who
continued, in their own way, the Van Spaendonck traditions into the
nineteenth century, combining the skills of the flower painter in oils with
those of the botanical draughtsman in watercolour, gouache, and pastel.
106.
CHAZAL,
I2| x 9^
in.
(324 x
'
CL
US/.., Anthony
II (c.
DUTCH
1616-f. 1652)
1616-1652).
Works
others, they were not father and son and gives an earlier birthdate for
Anthony
in
II
of r6o6/8.
The
older
artist,
of
whom
monogram and
marriage
is
is
recorded
principally
known
87
CLAESZ.
107.
CLAESZ., Anthony
i8ix 13!
II,
(47x34-3 cm.)
and
in.
illustrated in Bol.
Anthony
for
CLAEUW, Jacques de
(c.
dutch
1620-f. 1687)
Born
St
at
Luke
were
as they
called, at
later
he moved to
are thought to be
111.
108, of
65
when he painted
1, is
a striking
flowers.
There
is
the
upon
in
the work of
88
approach
is
whom De Oaeuw
freedom
same blend of
commented
came
certainly
CLAEUW, Jacques
65
27 J x iql
in. ((h)
x 50
cm.)
de, signed
and dated
CLARE
which the shell and its reflection in the vase are painted. The archaic stone
niche and the general conventionality of the format belie the 'modern'
note of De Claeuw's bouquet.
It could be thought contemporary with works of Calraat and De Bray.
CLARE, George
(active 1864-1873)
British
two brothers who painted still-lifes during the Victorian era,
George Clare worked in Birmingham exhibiting at the major galleries in
London. The manner of painting, with its high degree of finish achieved
by delicate stippling, derives from the still-life painter William Hunt,
who specialized in painting bird's nests. In ill. 109 the light key set by the
pale yellow primroses and the blue-green eggs in the nest against a mossy
bank was much admired by contemporary critics like John Ruskin and
Thackeray for its 'lack of falsehood'.
The
elder of
CLARE,
Oliver (active
c.
1865-1875)
British
The younger
109.
CLARE,
24 x 20
no.
6x9
in. (61
George, si
x 50-8 cm.)
89
CLARE
Nest'
Hunt
around the
is
nest.
French
and there are also two flower examples in the Musee des Beaux-Arts there,
of which ill. in is one. The landscape and sky are of a superior order to
the inferior backdrops of some of his contemporaries. Claudot was a friend
of Jean Girardet and Joseph Vernet, and as a young pupil Jean-Baptiste
Isabey was apprenticed to him. He died at Nancy in 1805.
in.
CLAUDOT
cm
French
1816-1854)
Melanie de Comolera appears to have spent the major part of her career
in London, which may explain why she is one of the very few French
artists not mentioned by Fare. Recorded working at the Sevres porcelain
factory for two years from 18 16, in 1827 Melanie became flower painter to
the Duchess of Clarence who became Queen Adelaide on the accession
of her husband as William IV in 1830. On the evidence of her inscription
on a painting at the Fitzwilliam Museum, Cambridge (Fairhaven Bequest),
she subsequently held the same position to Queen Victoria. Melanie exhibited
at the Salon between 1817 and 1839, at the Royal Academy, London, from
1826 to 1854, ana at the British Institution in 1830-1832. 111. 112, like the
Cambridge example, has an inscription below the signature in which
she described herself as a pupil of Cornells van Spaendonck. Apart
from the evidence of this inscription, there are clear stylistic reasons for
grouping her among his pupils. Whereas the Cambridge canvas is a conventional vase on a marble ledge, with flowers only, ill. 112 is a pleasing
composition of fruit and flowers, and includes a nest with blue eggs. Among
the flowers arranged on the sill, the vivid blue of the delphinium rises from
behind a white hibiscus, with purple and yellow heartsease (wild pansies)
"
HHH|
t
^Btj
Ws
IP<tN
Bfci-i?
*\
Bw^c^^sfl
K\ -*JT^
Nu
a3B^
\*^H
9m"-v
112.
21
-9b>\rfi
in.
in the centre.
^^H
1
COMOLERA, signed
X25
Ik
^ Yi
(53-4x63-5 cm.)
The
British
is
it
much
He
could not
live
by
of his
life,
down
in the
able, as has
(JO
in the
happened
The museum
in this
example.
CORINTH
mistake this perfectly natural effect for deterioration, but this is not the case.
These flowers are dated 'July 26th, 1814', although the last two figures
of the year are difficult to decipher. However, 18 14 would be correct
stylistically, a period when Constable was achieving the freedom and
power in oil that he had already with pencil and watercolour. According to
landscape was
difficult.
realized
compared
his
time and
to a typical
it will be
remarkable precursor
ill.
117,
of developments in France.
botanist
ground of his paintings, like the 'Cornfield' now in the National Gallery,
London. A sketchbook of the latter half of 1814, also in the Victoria and
Albert Museum, shows a typical pencil study of foliage, in this case dock
leaves, and there are many studies of trees, but surprisingly flowers are
quite rare. Only John Crome produced drawings of this kind, in England,
that are of comparable quality.
In 1833 Constable was deeply delighted by the famous compliment
paid to his work by a lady and wrote to Leslie to say, 'I told her half of this,
if I could think
deserved it, was worth all the talk and cant about pictures
in the world'. Her words were - and although intended for a landscape,
lend themselves to Constable's flowers
'How fresh, how dewy, how
I
exhilarating'.
CONTE,
first
Rome
From
669
to 167
he was active
He
at
is
in
113.
CONSTABLE,
i9^x
13 in. (49-5x33-
1651.
similar.
home
then returned
as a
CORINTH,
German
Lovis (1858-1925)
Tapiau (now (hardejsk) in East Prussia, Lovis Corinth spent his
childhood in a country village where his father was a master tanner. Recognizing his talent, his father sent Lovis to the Academy at nearby Konigsbcry, whence he graduated in 1880 to Munich. From 1884 to 1887, he was
in Paris studying with Bouguereau and Bastien Lepage, and exhibited in
Born
at
At
first
his
interest
la\
<)i
CORINTH
111.
115 dates from this year and marks the high point of
Corinth suffered
a stroke
from which
disturbed health
movement and colours. The bust of Michelalmost hidden beneath the profusion of flowers painted
David
is
COURBET,
Even today
114.
5 if in.
French
CONTE
39|x
Gustave (1819-1877)
a painter as
toppling of the
Vendome Column
in the
uproar of the
Commune
in 1871,
It is
im-
115.
CORINTH,
54! x 7 8|
in.
(139
signed
x200 cm.)
looked ahead
16.
COURBET,
wii in.
92
(759 x
'in
DAEL
117
(ritjht)
33J x 26
in.
DAEL,
(84 x 66
cm
DAEL, Jan
flemish
Van Dael is
Dutch- and Flemish-born artists who
Antwerp Academy
at Paris.
Having been
a pupil
first.
Changes of regime
left
Van Dael,
Louis XVI, first exhibited at the Salon in 1793 when Robespierre was in
power, found favour with Napoleon, Josephine, later Marie Louise,
Louis XVIII, was awarded the Legion d'Honneur under Charles X in
1825, and lived on for a decade of Louis-Philippe's reign.
Apart from easel pictures, Van Dael was employed in the decoration of
at the Sevres porcelain works. For
some vcars his studio was at the Sorbonne and there he instructed a
chateaux and his designs were used
large
group of pupils of
whom Van
93
DAEL
most accomplished. Naturally, Van Dael was friendly with Redoute and
Gerard van Spaendonck; it was beside the latter that he was buried at
Pere-Lachaise cemetery. III. 1 17 is a superb example of 18 16 from the palace
of Fontainebleau, one of several examples in the French national collections,
resulting from Van Dael's illustrious patronage in his lifetime. Gerdts
notes that the exhibition of Van Dael's work in America as early as 181
was influential. One French patron, Eugene de Beauharnais, son of Josephine
by her previous marriage, was posted to Germany and as Due de Leuchtenberg accumulated some of Van Dael's finest work at Munich. There are a
of baskets of flowers at Lyons. Van Dael also painted fruitpieces,
and flowers and fruit pendants in the usual manner. While not the equal
of Gerard van Spaendonck, Van Dael's attention to detail and delicacy are
fine pair
highly praiseworthy.
DAFFINGER,
At Vienna
in
Some
known
Austrian
album of
it is
it
has become
Moritz Michael Daffinger, son of a painter on porcelain, was a wellportraitist influenced by Sir Thomas Lawrence who visited Vienna.
After the death of his only daughter in 1841 Daffinger suddenly turned for
known
many
of them the
wild flowers of the mountains that are such a feature of the Austrian spring.
The
colour
medium, exemplified by
his primroses
from
this
album
(ill.
118).
DELACROIX, Ferdinand
French
Victor Eugene (1798-1863)
been made in the hope of showing
a characteristic example, ill. 121 may seem at first glance a departure from
this principle. The inclusion of Delacroix, who is not necessarily thought
of as a flower painter, and beyond that, the illustration of an unusual work,
have been to emphasize not only that the oeuvre of Delacroix was allIf the present choice of illustrations has
118.
1
if
DAFFINGER,
x 8
in.
(28-9 x
1842-49
204 cm.)
is
12
Museum
an 'outdoor' Monnoyer
111.
121
is
oil
in.
Of
New
261).
The
York,
large
in horizontal format,
flickering
brushed
painted like an
of Art,
(ill.
in the
century's great colourists, the dahlias are beautiful accents of red, white,
it
is
The
effect
is
\<)
(opposite)
CEZ W\l.
94
in his
room
at Aix.
To
work, painted and written. 'Hommage a Delacroix', to use the title of FantinLatour's canvas, united the most diverse of men from Redon to Renoir.
Eighty years after Delacroix's journey to North Africa, Matisse followed
the
same
path.
DE LA PORTE
121. (left)
DELACROIX,
22^ x 19^
in. (57-
122.
According
Monsieur
Villot in 1865,
(ill.
x 489 cm.)
DE LA PORTE
25! xzii
in.
(65
x54
cm.)
two years
time
fine'.
DE LA PORTE,
111.
122
is
FRENCH
Henri Horace Roland (1724-1793)
work
apparently
only
most unusual example of De la Porte's
Karlsruhe.
De
la
where he died
in 1793,
was
a pupil
Hderol
of painting.
if
one
failed to
a beautiful piece
120. (opposite)
i8|x 13^
in.
CHAGALL,
(463
x336
signed
cm.)
97
DENYS
DEXYS, Jan
(active
dutch
1645-r. 1690)
c.
Museum
is
in the Fitzwilliam
is
artist.
shot with red which the artist has flicked in with a few touches
among
the
white of the highlights. At the top of the bouquet, the yellow pigment of
the iris has largely deteriorated which slightly disturbs the composition by
failing to balance the three tulips. All the flowers are painted
velvety" finish contrasting
Bernt
illustrates a fruitpiece,
as Isaak Denies.
many
artists
influenced by
Van
artist,
silk
with
a soft
and
glass.
Denys among
cited places
the
Aelst.
123.
33
DENYS
x29 m.
(83-9x73-70111.)
freely
and individually.
No
he that his path could not lead to satisfaction, neither for himself nor those
who had earlier looked to him for future greatness. Derain once said that
to find the wine that suits him; that a wine existed for every
'Have you found yours?' he was asked. The answer was 'No'.
everyone ought
124
DERAIN,
20
in.
signed
(44-4 x
palate.
508 cm.)
DESPORTES,
Louis
XIV
French
Alexandre Francois (1661-1743)
Queen Anne of England, and Jan Sobieski of Poland
of France,
list
of a farm worker, Desportes' painting gave him entry into the highest
He was apprenticed to a hotelier in Paris, but turned to
the study of painting with the Flemish animal painter Nicasius (also called
society in Europe.
Bernaerts).
98
When
his
DIAZ
126. (right)
41x37
in.
DESPORTES
(105
x94
cm.)
own
in the
open
air.
Warsaw he returned
many commissions
commissions as far
was best known for
and
Munich.
Desportes
away as Vienna, Rome, Tunis
pieces,
although he someand
hunting
trophy
his still-lifes with dead game
example
with
gun and drinking
times included flowers. 111. 126 is one such
open tulips,
The
striped
bottle arranged with dead game and a bouquet.
occur
again
in
ill.
from
Sevres.
anemones, and lilac are favourites which
125
acquired
the
Manufacture
by
This is one of a number of Desportes' paintings
de Porcelaines du Roy at the end of the eighteenth century.
Among twenty or more examples of Desportes' work in the Louvre is
also a successful artist, recorded that his father sent
an outstanding canvas
FRENCH
Virgile de la Pena (1807-1876)
Bordeaux to Spanish emigres, Diaz was principally a landscape
painter. He formed part of the Barbizon School with Theodore Rousseau,
Jean Francois Millet and Charles Francois Daubigny, exhibiting regularly
DIAZ, Narcisse
Born
at
99
DIAZ
own
palette.
is
rather romantically
effect.
German
(1706-1783)
here reRegina
Barbara
The elder daughter of Johann Israel Dietzsch,
who
musicians
and
presents an important family of painters, engravers
her
father,
her
flourished in eighteenth-century Nuremberg. As well as
brother Johann Christoph (17 10-1769) and her sister Margareta (1726-1795)
were all employed like Barbara at the Nuremberg court. Their work was
sought after by collectors in the Netherlands and England. 111. 128, a gouache
on parchment, shows her master}- of the medium. The sharp, hard finish
coupled with the symmetrical bouquet, dark background, stone arch and
displav of insects in the foreground is reminiscent of German art in the
previous century. The artist drew extensively for engravers and on her death
127.
DIAZ,
io| x 8^
in.
signed
(27-3 x 21-6 cm.)
over a hundred gouache paintings of birds, insects, and flowers were listed
128. (left)
DIETZSCH
20^ x i8|
in.
120. (above)
16J x
IOO
in.
(53 x 46 cm.)
DOGARTH
(41 x 28 cm.)
DOLCI
130.
DOLCI
2-\x
2 \\ in.
132. (right)
(70x55 cm.)
DRECHSLER,
in
landscapes,
is
family, including
well represented at
Austrian
our
own
hundred
years earlier. In fact, ill. 129 seems to recall the even earlier style of a seventeenth-century bouquet. Just as Dogarth learned from his father Franz,
so he, in turn, instructed his son Erich Josef, born in 1927.
DOLCI,
Carlo (1616-1686)
number of
Italian
in the
studio of Vignali.
He
painted
His contemporary
Baldinucci records that in his youth Dolci made several paintings of
fruit and flowers. The artist must have known the works of Justus Sustermans, Van Aelst, and Marseus van Schriek, who all visited Florence. His
large
vase of flowers,
ill.
religious subjects
130,
is
and
unsigned but
portraits.
fully
DONGEN,
J
in
signed
30 X HH
<)
cm.)
It is
made
is
a cardinal's hat.
for Cardinal
Leopold
(a
"
DONGEN
dutch
Dongen
left his
work
is
^t^.**.
133.
DUFY,
15^x15!
in.
signed
(38-7x38-70111.)
founding
among
the
figure,
first to
is
;i?
7*.
ji^i
1
DUFY,
%' jgJH
'.
a long period
French
Raoul (1877-1953)
Normandy,
in the
ELI
)9| /
102
jojj in.
(101 x
785 cm.)
painting under
museum
came
at
Le Havre.
back, as
it
were,
134.
was
Petter, Hartinger
~1
He
artist
Wegmeyr, Nigg,
**
an outstanding
Austrian
his position as
EHRET
in patches,
it,
made
to efface that
is
him
to forget
ugly'.
German
(1708-1770)
made
which
Many
skills
Marrel,
illustrators,
own
right.
is
striped tulip
(ill.
Although the
139)?
details of his career are
known from an
autobiographical
sketch of 1758, Ehret has been more recently brought to life by Wilfrid
Blunt. Georg Dionysius Ehret was born in Germany, but since he spent
the most productive and successful years of his
life in
like
gardener
at
Heidelberg
now abandoned
gardening for drawing and worked for various patrons with some success.
During the early 1730s, he travelled extensively in Europe, making drawings
life
a friend in
135.
ELIAERTS,
signed
its
bluish-green leaves
is
a perfect
affectionately
known
floury substance on the leaves and petals, so well suggested by Ehret. Just
as
seventeenth-century
artists
has a
on vellum.
filled
136.
ELLIGER,
10 x
-]\ in.
(25-4 x iq-
cm.)
103
ELI
Very
Brunswick.
He
artist
German
who was born at
century painting.
iris
and
lilies
It is
Madonna
ELIAERTS, Jean
Francois (1761-1848)
flemish
As his gallicized Christian names suggest, Eliaerts was one of the colonv
of Dutch and Flemish artists active at Paris. Having studied at the Antwerp
Academy, he spent much of his life in France, exhibiting at the Paris Salon
from 1810 until his death in 1848. 111. 135 brings to mind Van Dael but the
little
bird
which was
War
is
in the possession of
New York,
before
World
II.
Swedish
ELLIGER, Ottmar (1633-1679)
Ottmar Elliger was a cosmopolitan flower and still-life painter, born at
Gothenburg in Sweden, the son of a doctor. He was sent to Antwerp and
there he became a follower of Seghers whose style he took to Germany as a
court painter to the Elector of Brandenburg.
1879
I-
worked
at
Hamburg and
at
He
Amsterdam where,
in 1660,
ENNEKING, John J.
(1841-1916)
American
Europe on an American painter is demonstrated in two paintings by John Enneking of Boston. A still-life of 1869
shows fruit surrounding a glass bowl filled with honeycombs. The honeycombs dub the work American, but even without them the painting could
be placed in the right school on stylistic grounds.
111. 137, of 1879, was painted after Enneking had returned after four
years in Europe in 1876. Clear bright colours and homely presentation
are superseded by atmospheric sophistication in the painting, just as
One
17! * '4i
in.
CHARD IN
(438 x 36 2 cm.)
2o\ x 16J
104
in.
GEL, f.
(525 x 41 cm.)
1638
bek;un
ES
141. (opposite)
ig^x 23J
in.
142. (right)
FANTIN-LATOUR,
(48-9 x
ENSOR,
44ix 3 8iin.
(113 x
603 cm.)
975 cm.)
left his
home town,
own
lifetime,
it
is
now acknowledged
that
Ensor's best work was achieved before 1900 with his 'Entry of Christ
into Brussels' of 1888, his masterpiece. Fantastic masks and grotesque
figures and skeletons are the subjects generally associated with Ensor, but
ill. 142 is also an early work, painted when the artist was only twenty-three.
Although obviously different from the flowerpieces of his Flemish predecessors, the arrangement is a traditional display of flowers reminiscent, not of
his French contemporaries, but of Courbet and Delacroix. Soon, even
Ensor's still-lifes were to suggest hidden symbols of mystery and violence
by the addition of humourless carnival masks, paintings that were to impress
The
long
life
(c. 1
596-1666)
flemish
of Van Es,
it
is
IO()
ES
143.
ES, signed
22 x i6f
in.
(56 x
415 cm.
and the cool refinement of the colouring. Subtle shades of grey, pink,
yellow, and green, all in a cool overall tonality, are the characteristics of
Van Es's palette. Thus, if this bouquet of roses, another at the Musee
des Beaux-Arts, Strasbourg, and a small panel of three roses and an iris
(Lugt Collection, Paris) were placed together, their continuity would be
immediately apparent.
When Van Es does add flowers to a fruitpiece, they are usually of the
same complete simplicity, like the two carnations in a glass next to a bowl
of plums in a small panel at Capetown (Michaelis Collection). Van Es
painted his flowers with a firm, sure touch giving them a convincing volume
and standing against a plain background, with few frills, recalling Seghers,
but the tonality of
Van Es
is
so distinctive as to
make
it
a strictly limited
comparison.
EVERBROECK,
A
flemish
Antwerp Guild in 1661,
Amsterdam. His garlands are usually composed
Frans van
(c.
1638-after 1672)
in
10
among
the
ill.
144.
EYKRBROI
47 x 38
in. (1 i(jx
q6-6 cm.)
FANTIN-LATOUR
states that
citing an example,
FAES,
and none
known
is
Pieter (1750-1814)
flemish
subject, there
who was
is
a surprising
is
a pupil at the
absence of any
Antwerp Academy.
the notation 'a Anvers (at Antwerp) which Faes often added to his work.
Like his Dutch contemporary Van Os, his style follows the lead of Van
Huysum and he also painted fruit and flower compositions of which an
example, dated 1794, is at the Stedelijk Museum voor Schone Kunsten,
Bruges. In ill. 145 it is the purple and yellow auriculas next to deep red
ones which give the strongest colour accents.
FANTIN-LATOUR,
(1836-1904)
The question of
FRENCH
who
is
is
palpably argumentative
and inconclusive. Change the question to who deserves the title of bestflower painter and all is surely simplified: Henri Fantin-Latour.
For over a century his work has been admired and collected throughout
the English-speaking world. Leaving aside his native France, it is difficult
to think of a significant public gallery without an example of Fantin's
known
work.
is
to
it
was
Fantin's intense passion for music which most inspired him. After his last
to
England
surroundings
that the
in
in the
dawn of
necessity
is
his life
145.
FAES,
215 x 16
in.
his father, a
modest
Yet from 1850, when the fourteen-year-old Fantin started to study in Paris,
he seemed unsettled, although a very conscientious worker. Staying neither
with Lecoq de Boisbaudran, nor with Courbet, nor the Ecole des Beaux\rts,
own
in
living. One of his commissions for a Veronese copy was for a Mr Beecher Stowe, brother-in-law
of the famous Harriet whose momentous novel, Uncle Tom's Cabin, had
instruction and as a
appeared
means of making
in 1852.
Copying
in the
Louvre was
Manet
a consistently fortunate
there with
whom
him
in the Salon des Refuses in 1863, but never later interesting himself in
Impressionism nor, really, in any 'ism'. (In the City Museum and Art
II
FANTIN-LATOUR
146.
FANTIN-LATOUR, signed
24I x 29^
147.
in. (62-9
FANTIN-LATOUR,
22 x 25!
in.
(55-9
x 74-9 cm.)
x 64-8 cm.)
him known in England. Two years later, Fantin was back again and always
remembered his happy days at Sunbury, near London, staying with the
Kdwards. Their portrait of 1875 is in the Tate Gallery, London.
Fantin's attention began to turn more and more to flowerpieces which
were finding buyers in England, even if the Parisian public was uninterested.
In 1869 Whistler wrote from London saying how well the flowerpieces
12
FANTIN-LATOUR
were
selling.
took to
London
FERGUSON,
148.
20^ x 16
London
a perfect
is
imagine
signed
x 40-7 cm.)
^'
The
in. (52-
example of
his
unique
(ill.
will
141),
is
dated 1890.
ability to paint
them.
It is difficult
its
glory was
century
later there
were
human
face ...
dissects, analyses,
it
is
its
To
grain,
quote Blanche
its tissue,
as if
is
it
He
in their
By the rH^os
forces of
sway.
awakening to Fantin's flower paintwords about him must rest, not with this English pen,
but with the eloquent Leonce Bencdite writing in 1899:
the Paris collectors were
149.
FLEGEL,
9 x 6|
in.
(229 x
signed
17-
cm.)
113
'
FANTIN-LATOUR
day proved himself to be the most attentive, the most conscientious observer
in grasping the secret of life through the fragile and divine pulp of flowers.
He was respectfully moved by this substance woven in light, as if in front of
the transparent and animated marble of the body of a woman. In a warm
atmosphere, against the light depths of grey backgrounds, the gloriously
blooming roses, the proud dahlias, the lascivious carnations, the dishevelled
chrysanthemums, the sonorous tulips with their metallic brilliance, and the
beautiful gold and red fruit, amber-toned, shining or velvety, come gently
to life with a profound vegetative existence, under the caress of this muted
chiaroscuro, which seems to be the emanation of their mysterious souls.
Ferguson studied
in Scotland,
France and
sidence at
On
his
way he
British
own country
visited
Utrecht and
to tradition,
Most of
Italy.
in his
before journeying
later
took up re-
Aelst, but
ill.
148
is
FLEGEL, Georg
German
(1563-1638)
FORNENBURGH,
97 x -\
in. (24-1
x 18-4 cm.)
**
bouquet
'.
<
111.
140
is
the
in Flegel's
work.
It
so,
no
leaves, but
owing
to
war damage,
151.
FORTE
30^x39]
in.
dutch
114
FYT
FORTE, Luca
(active
c.
first
1630-1670)
Italian
still-life.
known of his origins but he may have spent some of his formative
years in Rome, a city still dominated by the spirit of Caravaggio. It is
recorded that Luca Forte was the master of Porpora. Two paintings in
Little
is
ill.
The
151.
filled
Cagnacci flowerpiece,
in the
simple blooms
still-life
Luca
The
manner
frieze-like
tuberose seems to be a
painters, for
it is
also
dominant
its few
handled with great delicacy which relieves the rather
is
ill.
96.
fruit.
152.
at
name
dutch
1695)
suggest French extraction,
1658 and
London
is
FROMANTIOU, signed
33i x 26!
in.
(84 x 68 cm.)
and
in
As
Wouwerman.
a still-life painter
Of
in his flowerpieces
known
is
a beautiful little
FYT, Jan
flemish
(1611-1661)
many would
place his
animal pictures, particularly of dogs, and his game pieces above his achieve-
ments
as a still-life
le
then
111.
at
made
153
is
prolonged stay
in
bouquet, seen
in
a rare
Laren, Holland,
in
1958.
two years
Rome
is
Antwerp
in 161 1,
London
What
at
at Paris
153.
FYT,
31$ x 27
in.
signed
(80 x 68-6 cm.)
115
FYT
Br
^St*
..*,:
*
.
'
&^ii-t
im*
**
W^mJ^^k
-TTlil
in
i*PW
_^
painterly verve typical of the great
and he
far
least
of Fyt's
154.
FYT,
462 x lli
''Noli
me Tangere\ signed
m (n8x
-
197 cm.)
154 is a famous canvas over six feet wide in the Musees Royaux des
Beaux-Arts, Brussels. Fyt's handling has naturally broadened in a work
of such proportions and if a small detail were seen in a photograph, as in a
111.
with certainty that Fyt's use of a landscape setting, with highly picturesque
details like the waterfall,
work,
''Noli
me Tangere\
was the
is
The
title
of this
the middle distance and sees the figures in the traditional postures of that
[l6
55. (opposite
28J x 36]
in.
above)
73 x 92
in.
MATISSE,
(73 x 92 cm.)
GAUGUIN,
889
GAUGUIN
GALLE, Hieronymus
Born
(1626-after 1679)
flemish
art-historical point.
On the evidence of
ill. 1
French
volume was
Lyons in 1820 he died at the age of twentybasket of flowers was exhibited at the Salon of 1850, having been
completed after Gallet's death by Saint-Jean. 111. 159, of 1846, knows
mind
158.
GALLE,
27 x 20
in.
(68-6 x
ill.
71
which
it is
GALLIS,
111.
160
is
dutch
Pieter (1633-1697)
by Pieter
in still-life,
town
fritillaries at
Gallis, active at
Hoorn
as an
who was
also active at
is,
Hoonn, a
ears, a detail to
GARZONI, Giovanna
which the
artist
seems attached.
(1600-1670)
life in
Italian
Born at
moved
ist
to
technique.
M.I.I.
25J
in.
(83
157. (opposite)
17I
x65
cm.)
GHEYN,
(58
x44 cm.)
dimmed
French
for us to think of Paul
to the exotic
of modern urban
life,
South Sea
On
the con-
from its pressures, serve only to intensify our fleeting fancies to emulate
Gauguin's search for a Polynesian Utopia. Is it not perverseness therefore
to choose an example painted in Brittany in 1889 and not in Tahiti? No,
because in reality the impact of Tahiti was not vital to the art of Gauguin
except for new subjects and, whatever he may have imagined, the merits
of this famous painting (ill. 156) could not have been enhanced by Tahiti
or anywhere else.
119
GAUGUIN
Long
before
Gauguin
He reminded
first
stay in Tahiti
later
much
Gauguin
is
totally
from Redon's.
Of all Gauguin
160.
GALLIS,
2C^x
signed
15 in. (52 x 38
cm.
absorbed these influences so deeply that he may not have been fully aware
of their importance himself and, if he were, was not the one to acknowledge
them by the inclusion of print. Probably the whole arrangement was
spontaneously arranged and the print was simply to hand, pinned with
others around the studio walls at Le Pouldu (near Pont-Aven). Brushwork,
line, spacing, a new perspective, are full of sublety in this famous example.
The jug on the right is a ceramic by Gauguin, one of his many media,
preserved today in Copenhagen. Clearly a self-portrait of the
artist, is
it
Vincent
120
at Aries.
GHEYN
is lost,
De
ill.
He
then stayed
Leyden
at
guild at
engraver at
came from
Van Mander
in
all
seasons.
to
become
De Gheyn's
The same
source
tells
was owned by Rudolf II. This is a lost work not among the three known
bouquets by De Gheyn that have survived.
De Gheyn would have studied blooms in the celebrated botanical gardens
at Leyden, whose director from 1593 to 1609 was the great French botanist,
Charles de Lecluse (Clusius). De Gheyn, who painted his portrait, was
on terms of friendship and mutual respect with Lecluse. He painted the
tulip whose popularity had been largely instigated by the botanist. 111. 157,
in the F.
Lugt Collection,
and vigorously
ill.
lost painting
may have
De Gheyn in
turned for
such
now
a gift
So enthusiastic
and
may
it
said. It
famous
Ambrosius Bosschaert's
Dutch States General
hundred guilders. Maria de'
him
this painting
that the
on her
yet be
a special
was
it
It is
one turns
same cannot be
of 1606
When
naturalistic.
visit to
public collections.
De Gheyn's
161.GARZONI
2 6|
x 31!
in.
(67 x 80 cm.)
its
tall
121
GHEYN
162.
GLACKENS,
24 x 18
found his bouquets too angular and hard with an over-arranged composition
by comparison with 'Velvet' Brueghel: an interesting but not especially
discerning comment.
GLACKENS, William J.
A
(1870-1938)
member of the Ash Can School, William Glackens
in this context, or
more
American
is
still-life
beginning with the Peales. Glackens moved away from his early style
towards both the colour and technique of Renoir, which is most strongly
apparent
belongs to the
artist's heirs
and
is
ill.
162. 'Flowers in a
dated
c.
which appear
way
122
Museum,
St I-ouis, in 1966.
that
Renoir did.
examples.
in several
Art
Quimper
Pitcher'
was exhibited
at
He was
The ilthe City
in. (61
signed
x 45-8 cm.)
GOGH
GOGH,
sunflowers in the
window
there. If
dozen panels. So the whole thing will be a symphony in blue and yellow.
I am working at it every morning from sunrise on, for the flowers fade so
soon, and the thing is to do the whole in one rush.' Vincent wrote this
letter to his brother Theo from Aries in August 1888. He explained that
he had three different variants of sunflower 'going'. The story continues
in his next letter: 'I am now on the fourth picture of sunflowers' (this is
ill. 186). 'This fourth one is a bunch of fourteen flowers, against a yellow
background, like a still-life of quinces and lemons that I did some time ago.
Only as it is much bigger, it gives a rather singular effect, and I think this
one is painted with more simplicity than the quinces and lemons. Do you
remember that one day we saw a very extraordinary Manet at the Hotel
Drouot, some huge peonies with their green leaves against a light background? As free in the open air and as much a flower as anything could
be, and yet painted in a perfectly solid impasto'
'That's what I'd call
simplicity of technique. And I must tell you that nowadays I am trying
to find a special brushwork without stippling or anything else, nothing
but the varied stroke. But some day you'll see.'
Although Van Gogh speaks of decorating the studio he later made it
clear that the sunflowers were for the little bedroom, intended for Gauguin
or Theo if he came to stay. When he did, his brother assured him, 'You
will see these big pictures of sunflowers, twelve or fourteen to a bunch,
crammed into this tiny boudoir with its pretty bed and everything else
dainty. It will not be commonplace'.
Vincent's enthusiastic concern to prepare the spare room has that unsophisticated and touching simplicity which characterizes so many of his
thoughts and deeds. The sunflowers are innocent of the irony of their welcome. When Gauguin did arrive in September discord mounted in a few
months to the tragic violence of Christmas Eve, 1888, when Vincent cut
off his own car and Gauguin left. Yet their meeting in Paris had been of
vital importance to Van Gogh. Kach in the intensity of his own emotions
sought a new freedom lor painting. Freedom of line and colour to express
feeling
Van Gogh was the father of Expressionism and showed the Fauves
the under-dimensions of colour. 'I want to express by red and green the
terrible human passions', wrote Van Gogh. However, his sunflowers
were painted in that summer of 1888 which, in the terms of the extraordinary
life of this man, was a period of happiness. In a bouquet of oleanders painted
in the same month (August) he placed a copy of Zola's Joy of Living next
to the vase, with the title clearly painted, a symbol of what he felt when
painting flowers. Perhaps Van Gogh sensed what these few months meant
to him when he later wrote of the sunflowers symbolizing 'gratitude'.
Their unique radiance evokes rather the words of Delacroix, that precursor
of so much, whom Van Gogh admired, that, 'yellow, orange, and red inspire
and represent ideas of joy and richness'. Van Gogh's love of painting sun.
flowers
is
well attested
123
GOGH
many
To
this
Dutchman
still-life
some of
a pale
life
inner turmoil as the sunflowers. In 1890, two months after painting the
roses,
GRASDORP,
163.
25^x21!
signed
(64x55 cm.)
in.
GRASDORP,
Little
is
Willem (1678-1723)
known of Willem Grasdorp, born
architectural
He was
dutch
at
Amsterdam
a pupil
the son of an
of Stuven but
ill.
163, a
is
the
depth of talent in the Dutch School that even its smaller masters, of whom
by no means all can be represented here, maintained an excellent standard
of quality. Grasdorp died at Zwolle in 1723.
IS*
GRESLY,
164.
i\~.
/ 25I
in.
signed
165. (right)
GL
57 / Ho
124
in.
\KI)I
'
tf
HALL
GRESLY,
Such
Gabriel (1712-1756)
French
is
ill.
164, that
it as a seventeenth-centurv canvas. In
Gresly was born near Besancon in 17 12, and came to Paris where he
worked until his death in 1756, enjoying the patronage of the Comte de
Caylus. His reputation in the capital was for pictures of everyday objects
fact
GUARDI,
Most
in
trompe
Foeil.
Francesco (1712-1793)
Italian
fall
into groups,
Van Huysum, Monnoyer, and Van Os. Like Chardin, Francesco Guardi
stands apart. In his own time, he was looked upon as a 'poor man's'
Canaletto, his fresh, light-filled Venetian views commanding only half the
price of the more meticulous Canalettos. It was the Impressionists who
drew attention
to
With
brother Gianantonio,
older
his
who during
Caflfi.
come
to light
Most of his
for use as
work
flowerpieces
overdoor decora-
tions or firescreens.
111.
a fine
is
The
colouring
is
a light
in
166.
HALL,
7I x 12 in. (19 x
if
305 cm.)
yellows and an almost infinite variety of greens, ranging from the olive
of
all
is
sketched
with
The
parakeet
Guardi's work.
Guardi's place
who
Sterling
to
in
in
first
well expressed by
is
time
appear
in painting,
studios,
air
released
time was almost ripe for Delacroix's bold, untrammelled handling of the
painter's
medium.'
Henry
Boston
(1825-1913)
at
American
\ew Hampshire, began painting
apparently without
a teacher.
In 1849,
to
left
in
New York
made by
Hall
in
1852.
It
was the
first of
many
journeys
in
the artist
began painting
still-lites
Europe in 852
single fruit studies of life si/e, bouquets, elaborate fruit
and flowerpieces. He was most notable for his depiction of exotic fruits,
often seen on his foreign tours: one work, for example, is entitled 'A Pome1
granate, Siena'.
Later, Hall gave
canvas
of
engage
in his
iHH
more
The
attention to flowers.
III.
166
is
rather striking
penchant
for reflections
167.
HALSZEL,
37^x29
in.
[25
HALL
natural setting
was
a prolific
than
at present,
These
according to Gerdts.
lilies,
although painted in
a naturalistic vein.
Here
surprisingly
is
a painting
in
European
modern
which
art
is
feel,
im-
of the same
date.
HALSZEL, Johann
German
Baptist (1712-1777)
document records
his
presence
life.
Vienna
at
all
the
Thieme Becker
is
known of him
in 1748. In 1767
known works
he was
Vienna, unusually painted on copper and both signed and dated 1775
The revival of flower painting as a popular subject did not occur in \ ienna
Hamen
Spanish
of Spanish
painting.
still-Life
to the
no proof. In 1620 he married and had two sons before his early
Hamen was mainly a still-life
painter with a particular penchant for the Netherlandish breakfast-piece.
However, his manner of painting is highly individual and the arrangement
of objects is varied and experimental. 111. 168 is a large canvas over six feet
high and is entitled 'Offering to Flora'. Signed and dated 1627. this is an
example of Van der Hamen's mature period and unique in his oeuvre.
It is known from contemporary sources that he was also a portrait painter.
so that here he was not collaborating with a portrait painter in the familiar
way, but did the entire painting. Bergstrom compares this with a painting
of 16 13 by Rubens of Pausias and Glycera, ill. 3. where the flowers are
the work of Been. Here the flowers are painted with extreme attention
to detail and are in brilliant colours. In contrast to the great variety in the
cascade of flowers at the feet of Flora, the roses on the dish are rounder and
fuller. At Dartmouth. New Hampshire, there is a garland of flowers signed
and dated 1628. The garland motif, so popular in Flanders, is unusual in
but there
is
Spain.
HARDIME,
Pieter
to
Pieter
Hardime was
have settled
in
(1
677-1758)
a pupil
of his brother
Simon
at
flemish
Antwerp and appears
\\a^
169
is
a large
is
common
device of the decorative flowerpiece. As usual the odd size arises from the
'painted to order' nature of the decorathe flowerpiccc
plasterwork
in the patron's
to
is
were
120
artists
panelling or
fit
dated 1727
in horizontal
at their beNt
far
remo\ed
HARNETT
>5
SSk
57 x 45l in (145 x
-
170. (right)
52
HAMEN,
HARD
"6
ME,
Pieter, signed
and dated
cm.)
HARNETT,
in.
still
mar
the
decoration of
171
HARD I ME,
30 x 27
in. (7') 2
Simon, ngncd
68
'
cm
HARDIME, Simon
flemish
(1672-1737)
Like that other Simon, Simon Verelst, Hardime established himself in
in his twenties.
Born
at
England
in 1700.
Among
his patrons
111.
many
accomplished
tions of
was
a noticeable
artists
from the
Low
his pupil.
HARNETT,
The
size,
American
necessity,
involving obviously
artificial
distinctions,
of separating
adhered
represented.
1
lis
trompe
still-lifes
I'
A
oeil
paintings are
among
been made
in the case
of Harnett.
known of American
per cent of his work does not include flowers, would be unjust.
However inconclusive monetary values may be, it has taken the recent
sale in
London of
the simple
a small
fact that
Harnett
Harnett was
still-life to
set himself.
The
!-7
HARNETT
few hundred
dollars twenty-five years ago in his native country, sold at Christie's for
own
day.
in Ireland,
without
the
flat,
deceiving the eye and his arrest in 1886 on a counterfeiting charge was a
rare compliment.
111.
On
170
is
M. Harnett 1887
Xew
York'.
The
exhibition
172.
HARTINGER,
;-
x47
cm.)
HARTINGER.
Born
at
alstrian
Anton 1806-1890)
(
Academv
there.
An
artist
Wegmeyr and
studied at the
spiration
in the
bouquet.
HASSAM,
American
Childe (1859-1935)
of the American painters who went to Europe in the later nineteenth
centurv were confronted with Impressionism and often decided to stop
Manv
short of embracing
its
teaching
fully.
They
lhi
HAVERMAN
III. 173 shows two small panels with white roses and chrysanthemums
painted with great verve on a gold ground. Although very small they seem
intended, because of the ground, shape and style, for a specific decorative
purpose.
On
HAVERMAN,
Margareta (active
c.
dutch
1716-1750)
Only
is
Huysum.
111.
174, the
at the entreaty
Van Huysum
accept
a pupil, a
to the
Academy. The
work of her
in fact the
HA1 IX
175. (above)
(I24 x 95 cm.)
4*h x 37s
in-
174. (left)
HAVERMAN, signed
*\\ in (79'4X38-7cm.)
-
t2g
HAVERMAN
name was struck off! The faux pas did not prevent her
pursuing a successful career in Paris, where her flowerpieces were much
sought after. If we knew whether Van Huysum gave Margareta one
of his valuable paintings without signature and was a party to the deception
of the Academy,
it
would be
easier to decide if
the
HAYEZ,
Italian
Francesco (1791-1882)
at
HEADE,
American
130
is
permissible,
it
HECKE
HEADE
i6f x 12I
in.
(41-6 x
HEADE,
313 cm.)
LA
plants to
EPjG
'v J&4hij0
i
^^*^
178.
HECKE
2i|x 26
179.
in.
(55 x 66 cm.)
HEEM,
28^ x 20^
in.
m+
&*
him
as
models
for
many
whose
'
Europe over
them repeatedly
inevitably bringing to
mind
Van Gogh,
bouquet, like ill. 177, an early work of 1863 with corn lilies
and heliotrope, Heade's vision has a mysterious quality which sets him
apart from his contemporaries; both from the English Victorian mood of
some among them, and the Germanic hard finish of others.
a conventional
HECKE, Jan
Born
at
Oudenarde
Antwerp Guild
flemish
a
member
of the
131
HECKE
an equally accomplished
still-life
De
Heem.
HEEM,
Cornelis de (1631-1695)
dutch
Heem, son and pupil of Jan Davidsz. de Heem, was born at
Leyden and, except for the years at The Hague from 1676 to 1681, he
spent his career, like his father, at Antwerp, where he was a guild member
from 1660. Cornelis was particularly fond of festoons and swags, in his
father's manner, combining flowers and fruit, as is seen in the hanging
bouquet with nail and ribbon, ill. 179. The majority of his work is still-life
without flowers, as at the Ashmolean, Oxford, and his pure bouquets in
vases are rare; an example is in the Glasgow Art Gallery and Museum.
Inevitably there is confusion between paintings from the workshop of his
father and under his name and those of Cornelis at his best. On the other
hand, it would be surprising if the harder touch, and particularly the
coarser application of highlights with Cornelis, could be mistaken for the
masterly hand of Jan Davidsz. himself. David Cornelisz. (1663-1718), the
son of Cornelis de Heem, was noted as a guild member but little is known
of him. Cornelis de Heem rates as the one very competent follower of Jan
Davidsz. de Heem amid the vagueness surrounding other members of this
Cornells de
large family.
HEEM, David
180.
HEEM,
25! X2c4
in.
181. (right)
22IX29I
132
David de
II,
HEEM, Jan
in.
signed
(65x52 cm.)
(575 x 75 cm
de II (active 1668)
would be tempting to omit all reference
dutch
to
HEEM
son of David de
Hecm
I,
as his
name
implies, and a
young brother
182. (left)
HEEM, Jan
4r x 33t
i-
(1028 x 85 cm.)
183. (below)
HENDRIKS,
39I x 29^
(100 x 76 cm.)
in.
signed
to the
Thus
ill.
Ho,
most
clearly signed,
The
at
the
is
by David de
signature with
Heem
its
II
in
archery
bow curve
is
clearly
by
work of David de
Heem
II
and form
a point
is
unusually good,
of reference
in the
HEEM, Jan
One
Davids/., de (1606-1683/4)
DUTCH
of the fundamental
Davids/., de
Heem
Utrecht where he spent his early years, moving to Leyden where he married
1626. Ten years later in 1636 he was admitted to the Antwerp Guild,
where a major part of his life was spent, although he travelled frequently
away from the city. In 1669 he was at Utrecht and remained a member of
that guild until 1672 when Louis XIV's invasion of Holland forced him to
return to Antwerp for the remainder of his days.
in
133
HE EM
in
is
When in
to
1636
Antwerp,
city
thirty-year-old painter?
Such
De Heem
vitality as
possessed
is
usually
When
it
painting and still-life were expected to play in the rich life of Antwerp.
Festoons of real flowers were made and hung for special banquets in the
castles and banqueting rooms of the wealthy patrons, and De Heem here
was providing a festoon as brilliant as the real one, and probably better
work has
not detrimental to
a decorative
De Heem
to
future developments.
De Heem,
his
still-lifes
and festoons
in the
184.
HENSTENBURG, signed
14! x 12^
in.
(37-5x31-8 cm.)
De Heem's
artist.
The
canvas
is
is
unanswered about
this
Museum
is
iris,
of Art,
New
York.
The
relationship, either in
De Heem
i\\ / ro
'.14
in.
I.
VI,
De Heem
(ill.
182), flowers
seem the
real subject.
The
HENSTENBURGH
the
lilies,
iris
glories.
Across the foreground the white paper and quill, the brilliant blue ribbon
of the pocketwatch, the red cherries, echo the same scheme.
Rarest
example than
as in
ill.
letters
and
it is
is
ill.
candidum
in.
GOGH,
signed
A more perfect
Many of the same blooms are present
lilies.
This canvas
De Heem
186. (opposite)
36 x 28
is
Munich example.
and
after his
name
De Heem
Brueghel
painting the
via
Seghers and,
in the
HENDRIKS, Wybrand
that carried
it
dutch
(1744-1831)
at
Haarlem.
Hendriks, painter, draughtsman and engraver, treated most subjects
and made copies after the old Dutch masters, especially Haarlem's hero,
Frans Hals. Thus flowerpieccs are comparatively rare in his work and he
inspiration.
The
is
few flowers
dominated by an over-abundance of
fruit,
fine large
panel of a
to the
Fitzwilliam
The Cambridge
in
the
companion
fruitpiece.
HENSTENBURGH, Herman
Henstenburgh was born
(x.illis
fruit
Museum, Cam-
at
dutch
(1667-1726)
of
of
landscapes, birds,
ill.
He made
game and
184
is
fruit as
one of the
187.
HERMANN, signed
27 x io|
in.
(68-6 x
502 cm.)
137
HENSTENBURGH
made
in
Holland
it
painter of landscapes,
represents the
century
who
many
German
still-life,
little-known
German
painters of the
ill.
187,
nineteenth
Netherlandish manner.
British
James Hewlett worked mainly in Bath. He
died at Isleworth, Middlesex, in 1836. Although little of his work is known
today, he was obviously a prolific and successful artist exhibiting regularly
in London from 1799; Reitlinger, quoting Joseph Farington, says that in
1808 nearly 800 guineas was paid for a Hewlett flower painting. His finished
flowerpieces are in the manner of Van Huysum, but ill. 189 is a page of
a gardener,
HIEPES, Tomas
Tomas Hiepes
(active 1643-1674)
Spanish
^r>>
138
HOECKE
Most remarkable
canvas.
is
its
up by Atlas
figures.
Hiepes was
whim
this
'primitive' quality
at the
Germanic feel which may be the result of contact with paintings imported
from that part of the Hapsburg domains.
(active 1666-1700)
German
one of those instances where a comparatively minor artist achieves
an unexpected masterpiece. It is also exceptional as a pure flowerpiece among
the still-lifes which make up the greater part of the oeuvre of Georg Hinz.
His still-lifes, as in the Rijksmuseum, Amsterdam, appear much influenced
by the great Haarlem masters Willem Kalf and Willem Claesz. Heda,
and in no way prepare us for this work with its 'tour de force' marble niche.
Hinz, whose surname is also spelled Hainz, Hintz, or Heintz, was principally active at Hamburg, but also worked in nearby Altona and at Leipzig.
Ties were close between the port of Hamburg and Holland from the end
of the sixteenth century, and refugees from the southern Netherlands
200
111.
is
found their way to northern Germany. Thus the Dutch influence in his
readily understood but this illustration has only to be compared
to the work of Dutch contemporaries to be aware of the individuality of
Johann Hinz. Perhaps he was interested in the flowerpieces of Elliger who
was probably at Hamburg in the 1660s. Hinz was fond of vessels, whether
still-life is
cm.)
ornamented with
n>i
(above)
33^x20$
HOICK
(82
in.
I.,
5x52
his
own
lifetime
Hinz was
czech
Jan Kaspar (or Caspar) Hirschely was the pupil of Angermeyer. Like his
teacher he appears to have spent his life at Prague and may therefore be
termed Czech. He also painted fruit and animal pieces. Like Angermeyer,
Hirschely's brushwork is broad but his finish is harder, and both artists
recall a
In
is
ill.
much
190, of
724, the steely finish of the shell with stipple dots of impasto
and occurs in the example in the Fitzwilliam Museum,
typical of Hirschely
is
with bas
relief,
and the
iris.
The
latter
a plinth
There are
(opposite above)
S7 X
t,HI
in
189. (opposite
12 / 11 in.
50 X
II
below
(30-5x28
[EPES,
left) III
<
>>
in
^4
X 24 2
I.I
'I
"I
em
191
is
the Fitzwilliam,
HIRSCHELY,
dated 1724
.W
190
em.)
<>8
lignecl
and
flemish
one of those tantalizing 'only known flowerpieces', whose masterliness palpably demonstrates that the artist must have painted a number
in order to achieve such excellence. Where are the others? Among the
thirty-seven flowerpieces which form the recent magnificent bequest to
111.
Cambridge,
ill.
191
is
the prize.
HOECKE
not
know
fainting
the
fork of Jasper.
is
known only
as a history painter.
British
1709-1712)
manner
the
in
painted
pictures
few
very
for
a
only
Trajan Hughes is
butterflies
numerous
foxglove,
the
with
111.
192
of Marseus van Schriek.
and a snake, is probably a direct copy after the Dutch master who almost
certainly visited
England
in the
mid-seventeenth century.
seventeenth century.
He
French
Huilliot was born
still-life
his father
painter of the
and
in 1721
was
still-lifes,
and
'Science'.
flemish
Born
at
192.
HUGHES
37 x 20
in.
fruit
along the grained wood. Occasionally flowers are placed among the
as if
letters
capital
in
is
signature
The
foreground.
or lie singly along the
of
glass
small
a
examples
of
handful
a
In
cut into the edge of the table.
is
drawn
is
the keynote of
worked
to a
in its
perfect finish. The glass of carnations could not be more convincing
overall
the
yet
water,
the
in
arrangement, in the way that each stem is seen
perspective, the
effect of the brilliant, untoned colour, the 'tilted shelf
or German
Flemish
early
crowded foreground, is very reminiscent of an
14O
ones
in front
193.
HULSDONCK, signed
21 x 28 in.
HUYSUM
was made by Benjamin West. West was one suspects just that kind of lofty
Academician who has always disdained flower painting. Nonetheless, on
the evidence of saleroom results at that time he placed a fair valuation of
1,200 on the pair of Van Huysums: twice as much as two famous Rembrandts in the collection. In the nineteenth century the Rothschilds and
others were as avid collectors as their eighteenth-century predecessors.
Today
Van Huysums
became
would not be placed in the same absurd relationship to those
Rembrandts. Nonetheless, it would probably bring one hundred thousand
pounds sterling.
This digression is only intended to stress both the continuity and intensity of desire for the flowerpieces of Van Huysum. Reitlinger, from
whose entertaining book these Walpole details are quoted, gives us a subjective judgment, typical of those aroused by Van Huysum's work. He
writes: 'The worship of Huysum, the most mechanical and least inspired
of the masters of the tight brush, showed eighteenth-century taste at its
most deplorable'. Leaving aside the validity of this opinion of Van Huysum,
their value
available,
is
it
the statement
is
condemn
31^x23^
in.
(80x597
cm.)
143
HL'YSUM
198.
HUYSUM, Jan
3i|x 24I
van, signed
in.
of his predecessors.
Sermon on
the
lilies is
Mount, an unusual
earliest flowerpieces:
'Consider the
symbolism of the
lilies
of the
field
And
yet
as
say
one of
these.'
The
its
sophistication in the
same
\\\
X23I
in.
111
left)
44
in.
HINZ
KESSEL,
One example,
in
ill.
signed
197,
The
is
the
shadowed
shadow shows
how the intense red of the peony is reflected in the leafs smooth surface.
This panel, like one example in the National Gallery, London, is dated
in two consecutive years, 1731, 1732. Van Huysum wrote to the Duke of
Mecklenburg on one occasion explaining that the completion of a comthe centre foreground.
(79-4x59-4 an.)
200. (overleaf
.'..
HUYSUM, Jan
in the
mission had been delayed because he was unable to find a yellow rose that
INMAN
202. (opposite)
from
30 x 27
his insistence
in.
JOHN,
signed
Thus
preparatory drawing
Obviously the reasonable
quantity of paintings produced and the fluid way even minutiae are treated
contradict any idea that he habitually worked for a whole year on one painting.
The artist left no word, no indication of how he really painted, no hint of
his own philosophy. So the wondrous skills of Jan van Huysum, the last
his
like the
of the great
a
Dutch masters,
leave us as
bemused
earlier.
of a schoolteacher, he
of sixteen.
but
Huysum
the
a battle
painter
who
203.
HUYSUM, Justus
35^x28$
in.
(90
x72
cm.)
died prematurely,
see p. 141.
INMAN, John
O'Brien (1828-1896)
American
John Inman, the son of the portrait painter Henry Inman, specialized in
portraits and genre pieces in period costume, the term used to describe
artists portraying figures not in contemporary clothes but in the dress of
a previous century. A few still-lifes by Inman are known.
Inman's small flowerpiccc of 1863, ill. 204, shows him in a thoroughly
natural vein. The yellow and red roses and purple lilac are painted with
delicacy but not too tight a brush. This example is more pleasing in its
simplicity than his larger and more elaborate compositions, where the
\
11
rorian
mood
is
204.
INMAN, signed
'4<>
JANSSENS
WmM
mm
w^wm
'^nWfx iJmw)
*
\tmm
T.Wk/
^BTr
*& #*rNlfcUJL jrv
Ibr^^F
^^i
:J IrNF
vHr>
>9
A,
7
IF
TdF^H
MHHr
*^mmr
ggfc/"
^^ffi
^
1^4^^^
ft.***^
W^**^
V
4
205.
JANSSENS,
39I x 2&f
JANSSENS, Anna
In 1928
(active 1645-1668)
Warner reproduced
ill.
flemish
known work of Anna Janssens,
in the field
is
therefore
open to correction.
\nna was the daughter of Abraham Janssens, an Antwerp painter who
collaborated with Jan Brueghel II. Anna married Jan and their union
produced eleven children of whom the earliest recorded was born in 1635.
tentative and
1^0
in.
signed
100 x 67 cm.)
KELDERMAN
bouquet with
its
pink roses.
JOHN, AugUStUS
(1878-1961)
BRITISH
'The secret of the Midi cannot be learnt in a moment. Students from overseas, even if provided with diplomas, have to re-adjust themselves and
start afresh if they want to capture it', wrote Augustus John in his autobiography Chiaroscuro, published in 1952. The reader will remark how
with two
its
own
sake.
111.
at
206.
KELDERMAN
36! x 28
in.
(93x71 cm.)
1929 with several other flowerpieces - a relatively new subject for John,
the figure painter - showing how he was studying them because they were
entitled 'Cineraria I', 'IP, 'III'. He liked to paint cyclamen, sunflowers,
magnolia and mimosa, too, and these appear among the many flowerpieces
and
in
his
By the age of twenty this solicitor's son from Tenby was acknowledged
draughtsman in Britain. In that year he graduated from
the Slade School in London and the next year, 1899, went to Paris where
as the greatest
known
in
Kngland
at that time,
at all
shared, inspired
well
known
in
in
among the
number of
collectors whose distaste for, or weariness with, much of modern art makes
the traditional skills of Augustus John seem ever more attractive. One can
Only judge this by their demand for his work, as reflected in market values.
And by this assessment Augustus John, like Sir Alfred Munnings and
of a 'forgotten'
name
in
may
be so
Russell Flint,
is
KELDERM
dutch
\\, Jan (1741-1820)
Dordrecht, Kcldcrman was trained as an architect, but through a
friendship with the Dordrecht-born painter Joris Ponse (1723-1783) he
became an amateur painter as well. As in the paintings of Ponse, ill. 206 is
Born
at
rather over-abundant
fruit
and flowers
in
in
to
an architectural setting.
151
KESSEL
207.
7X
KESSEL
in. (17-8
x 229 cm.)
flemish
(1626-1679)
Antwerp, Jan van Kessel was the son of the painter Hieronymus
van Kessel and Paschaise Brueghel, the daughter of Jan 'Velvet' Brueghel.
By the age of ten he was an apprentice with Simon de Vos and in 1645
became a master of the Antwerp Guild. The caption of an engraved portrait
at
also
Flanders and
comfortable prosperous
life in his
native
Antwerp
Jan van Kessel is especially interesting because of the variety of his work
and the way in which it perfectly reflects the influence of two major artists,
'Velvet' Brueghel and Seghers. Under the sway of the first, who had
died a year before he was born,
traditions.
in
Van
111.
Under
207, an exquisite
little
7x9
inches,
is
clearly very
The abundance of
flowers, the mixture of large cultivated blooms with many tiny wild flowers,
the untoned brilliance of colour, are all familiar. The technique is different.
Brueghel's transparency is replaced by much more opaque colour applied
reminiscent of the larger baskets of 'Velvet' Brueghel.
Van Kessel
likes to
edge
his rose
basket of flowers
full
it is
in
the
abundance of his output to eager patrons, the quality of his work varies
and the brushwork becomes too mechanical and the finish too hard, producing
a doll's bouquet effect.
In the same early vein Van Kessel painted small panels of studies of
insects and flowers on white backgrounds, directly descended from Hoef52
KISLING
nagel in the previous century. Both the Ashmolean and Fitzwilliam Museums
have beautiful examples of these studies which, in the period, were often
used to ornament furniture. It would be an injustice to Van Kessel not to
reiterate the scope of his oeuvre. In the Brueghel tradition he painted
allegories of the 'Five Senses', the 'Garden of Eden', swags of flowers,
shells, fruits, with creatures of all kinds, fish, bird choirs like miniature
Hondecoeters, monkeys or singeries as they are called, and combinations
of or variations of all of these. He also painted still-life fantasies. In a well-
is
In
common
with
De Heem.
many
all-rounders, and
amid
this
Van Kessel
wealth of activity,
it
is
pre-
like the
transparent
brown
KEYSE, Thomas
208.
KEYSE,
13I x
if in. (34-9 x
British
(1721-1800)
hobby of Keyse,
although his pictures were highly praised by none other than Sir Joshua
Reynolds.
He
Academy and
the
Society of Artists from 1761 to 1773 and again in 1799. 111. 208 is one of a
charming pair of small canvases. The composition is simple, each vase
containing only three stems of flowers, but painted with great care in
restrained colours.
The
who
Keyse
in
KICK,
dutch
Cornells (1635-1681)
Amsterdam, Kick is known by only three or four certain works.
The example in the Ashmolean, Oxford, ill. 209, is more conventionally
symmetric than another painting illustrated in Bol, 1969, p. 289, where
his arrangement is more akin to Van Aelst (see p. 33). Kick was the teacher
of Van den Broeck and Walscappelle and in the latter's entry their relationship can be seen by comparison of ill. 209 and 380.
The Ashmolean panel, in excellent order, has a pleasing use of complementary colours in the purple poppy and orange marigold. The spiky
prunts set low on the glass vase are unusual.
Active
at
polish
His
first
teacher
who
at
209.
KICK,
18x14
in.
signed
153
KISLING
man
K -0^.
fulfil
Thus
his ambitions.
nineteen-year-old
by Soutine.
knew
all
He became
and had
who
painted
him
KISLING,
39fx 28|
in.
signed
from
a visit to
fireworks'.
(100 x 73 cm.)
Josef
Knapp was
Austrian
and
ill.
in
Austrian
word of explanation
is
very personal palette and brushwork of the painter. In doing so the illustramay serve as a comparison between Expressionist art and that of his
tion
211
'54
in.
(77-5x57-8 cm.)
1N30
comparison with Van Gogh and Gauguin whose work he had seen in his
at Vienna. Nor can one fail to be aware of his contact in
Germany with Impressionists like Corinth, and more significant!) with
student days
LADELL
Expressionists, especially
His experience of Paris lightened and purified his palette, but it is the
brushwork that is the characteristic feature of Kokoschka's work, as if it
were the handwriting of the artist. Of course the brush is restlessly energetic
Should one
By
charged flowers
a certain
joyousness?
wound which he
suffered
on the Eastern front in 1917, and the prolonged emotional crisis that followed
when the lifeline seemed about to break. Perhaps Kokoschka put into his
bouquet something of the exhilaration that his complete recovery and the
much happier phase of his life, when his wanderlust was being satisfied,
must have brought to him. Interpretation rests with the beholder but the
personal intensity of these flowers brooks no dispute. As Kokoschka said,
'Painting, you know, isn't based on just three dimensions, but on four.
The fourth dimension is a projection of myself.
dutch
(1816-1888)
LACHTROPIL S,
Very
little is
KONING,
17! x 14
in.
dutch
known of
212.
whose
origins,
He was
by the
active
at
best
known of
by Warner
the i960
in
it
it
in
none-
in
present whereabouts are uncertain. A signed example, with the same reds
and blue foliage as the Amsterdam canvas, was included in the Fairhaven
Bequest to the Fitzwilliam Museum, Cambridge, in 1966.
These three paintings are homogeneous but a quite different example
was published in the Revue du Louvre, 1970, from the Musees d'Art et
d'Histoire,
LADELL, Edward
Surprisingly
little is
BRITISH
(active 1856-1886)
Ladell
who
painted
many
still
213.
LACHTROPIUS,
24! x 2o\
in.
(629 x
52-
cm.)
LS5
LADELL
214.
LADELL,
215. (right)
24 x 20
x 32-4 cm.)
LA FARGE,
in. (61
signed
x 508 cm.)
1856 Ladell was a regular exhibitor at the Royal Academy. Ellen Ladell,
his wife, also painted still-lifes in a
214, which
is
manner very
like
monogram
her husband's.
to the
is
bottom
111.
and
left,
preferred flowers and fruit on a ledge to formal bouquets and in the excellence of his technique perfectly realized his aims without the garishness
American
What
all
the American
could be further
removed from the popular Currier and Ives print of the same year (ill. 273) ?
John La Farge, a consciously intellectual artist, tried to approach the
subject of flowers in a
their
mood and
spirit rather
than
and joined
his
less staid.
y> X 31
[56
KOKOSCHKA, signed
in. (<)()
/ 80 cm.)
his influence
many
On
his
Couture 'graduate',
to so
LARGILLIERE
he liked to place flowers by an open window where the light of interior and
exterior could mingle.
gives the
bouquet
its
Above
all, it is
the hazy
mysterious quality.
He
shimmer of the
light that
217. (opposite)
12! x 9!
in.
MANET, signed
(31-8x24-8 cm.)
them
in stained glass.
Tadema and
is
now
in the
made
for the
Museum
home of
Sir
Boston
society.
individuality
and range of
was
influential
on
ill.
Today La Farge's
others.
flowerpieces, like
be no doubt that the Oriental influence, not apparent in the present example,
increasingly important to La Farge - a dreamer among the realists
and 'eye deceivers'. One might almost jump ahead to the remark of Matisse,
'that there are two ways to paint a tree, firstly by the drawing of imitation
as one learns in European schools, secondly by the feeling which its
proximity and contemplation suggest to us, as with the Orientals.'
became
LAMBDIN,
American
began
to
and was firstly a genre painter, whose attention turned to still-life. In 1870
he settled at Germantown, Pennsylvania, and made a rose garden of considerable renown. Like Fantin-Latour in his Normandy garden, Lambdin
grew his own models, and both artists are best known for their roses.
Lambdin painted conventional bouquets of roses, alone or mixed with
other flowers, as in the 1873 example in the Museum of Fine Arts, Boston.
Lambdin also painted, in a more individual vein, roses growing in his
garden against a wall, in the same spirit of 'live nature' as opposed to
'nature morte' that made the water-lily in its pond a popular subject (see
Hall). 111. 218 has beautifully painted red and yellow roses with a lighter
background outdoors, compared to the neutral ones of the bouquets in
glass \ases. Lambdin's work was diffused through publication in chromolithograph by Prangs, a firm competing with Currier and Ives (see Frances
Bond Palmer).
I
\RGILLIERE,
French
Nicolas de (1656-1746)
in
moved
to
Flanders
edge of
artistic theory,
famous lecture
at
the
and
his pupil,
Academy
Oudry, recorded
his teachings in a
218.
LAMBDIN,
30 x 20J
in.
(76-2 x
signed
514 cm.)
159
LARGILLIERE
Musee
a portrait painter,
characteristic
example
he frequently
is
the portrait
signed and dated 1677, thus an early work painted during his stay in
England. His debt to the Flemish school is evident and it must not be
forgotten that at this stage Largilliere was by training purely a Flemish
artist.
He
gives great care to the light delicate key of the colours, which
Oudry how
put beside
it
want
It
told
other white objects like satin, paper and china, which will
help you find the exact tone wanted for your silver vase.'
LAURENT,
A
Francois Nicolas
(c.
1775-1828)
French
and 1819, and died at Orleans in 1828. 111. 220 is unusual in being painted
on this scale on vellum which has been mounted on canvas. The jade green
leaves and alabaster vase are typical of the cool tone of the whole painting.
In the foreground is an orange nasturtium next to a pink rose, behind a
magenta hollyhock.
LEDESMA,
LARGILLIERE,
219. (above)
29! x 24
LAURENT,
220. (below)
277 x 21
in.
(74 x 61 cm.)
in.
signed
been known only from documents. In 1602 Ledesma was cited in Granada,
the name inscribed on the illustrated work, and he painted a pair of pictures
in the Alhambra in 16 14. The seventeenth-century Spanish historian
Pacheco also mentioned his work. Before the recent research of Professor
Bergstrom, Ledesma had been thought to be one and the same as Bias
de Prado, master of Sanchez Cotan, and deceased by 1603. 111. 221 is one of
a pair of canvases at the High Museum of Art, Atlanta, Georgia, and is
one of Spain's earliest known fruit and flowerpieces. It is a very striking
composition with the flowers arranged in two balanced groups, behind the
table bearing a basket of cherries.
221. (right)
LEDESM V
in.
160
signed
(56-2x78-4 cm.)
Spanish
The warm
blue of the
red and ivory white of the cherries harmonize with the pale
irises
prompted Bergstrom
stiff
row.
The
primitive effect
Hortus
Conclusus.
many
of the
dutch
Dutchmen whose style was enriched through
at Paris, Van Leen, born at Dordrecht, went to
(1753-1825)
excellent
in
Holland and
French
Fitzwilliam,
New
of Art,
a different
Van Leen
(ill.
183).
LEEUWEN,
Born
at
format with
dutch
at
Haarlem, and
also of Van
panel
Leen.
now in
111.
223 of 1795,
the Fitzwilliam
LERICHE,
Nothing
artists
is
I.
in
French
many
(active 1780-1813)
S. J.
known of
recorded
in
the service of
Queen Marie
Antoinette. In 1780 he
in
to
be
111.
set into
LINARD, Jacques
It
is
French
(c. 1600- 1645)
only comparatively recently that Jacques Linard has been restored
he enjoyed in his lifetime as one of the major artists of stilland flower painting in the seventeenth century in France. Although
it is not clear if he was born at Paris, it was there that Linard came into
early contact with the very active colony of Flemish painters and merchants
of the Corporation of Saint Germain des Pres. He married the daughter
of Romain Treoyre, supplier of materials to many of these painters, and
from the subsequent records of distinguished godparents at the baptism
of their children it is evident that Linard was a well-established and respected figure. In 163 he was able to acquire the post of Valet de Chambre
to the Kinti, a sinecure whose purchase gained him certain privileges.
Linard's latest dated work of 1644 is a vanitas of a skull with vase of flowers
which has, significantly, much in common with a famous lost vanitas by
Philippe de Champaigne. The vanitas theme, so popular in Holland,
to the status
life
223.
LEF.UWEN,
2(4 x 14I
in.
(54x365
LINARD
K^^H
4/jfe
**m
jft
1 7;>
,"jj^
1
##r...
!
"
V v
jHH
^
224. (above)
Hi x
LERICHE,
Hi'. (3V5 x
if
%S^^
45'5 cm.)
~
225. (right)
19^ x 25I
LINARD,
in.
^ *^.
,,
alike.
The
^-^EW*^w
,r
signed
artist
^ ^*^>
The symmetry
226.
LINARD,
1
l| in.
first
is
Musee de
la Ville,
Strasbourg
(ill.
226).
the keynote.
How
this
contemplative work of an
artist
much concerned
same year
in the
in
Dutch
the Rijksmuseum,
(ill.
225) but
musical instrument, as
in
162
in
the
Musee
LUST
knife and
many
Senses' could be linked to the 'Four Elements' so that the birds and
;
depicted by the
little
and flowers,
The
window
and
earth,
mysterious A. Baugin
and Stosskopf (see p. 245), among other Frenchmen, painted these themes.
Without detracting from the merits of Linard, one is aware throughout
his work of northern influence - Brueghel has already been mentioned. Is
it possible that Linard with his bowls of fruit, his well-filled baskets, his
oysters, and the peculiar pearly tint of his colours, received the influence
of Brueghel through Beert ? After his apprenticeship Beert's nephew and
pupil, Ykens, went to Provence in the 1620s. It seems unlikely that he
would have made such a journey without first staying in Paris. If so,
was Linard impressed or was his own distinctive artistic personality
already formed ?
LINTHORST, Jacobus
dutch
(1745-1815)
Little
the
is
'etched' over the white beneath, rather than glazing to a tinted colour.
The
the
which
in
is
is
originally
had
which
pendant fruitpiece,
is
unusual, and
as in the
227 carries
This excellent
111.
may mean
Fairhaven Bequest.
227.
LINTHORST,
32^x25
in.
it
(82-5x63-5 cm.)
that
It is
in the Rijksmuseum,
Amsterdam, on the same type of mahogany panel of the same size, and also
dated in the same year, 1808, was this pendant.
LOPEZ, Gasparo
A
(r-1732)
Italian
Gasparo Lopez carried
To some extent
the Italian
son
Lopez
is
a less
ill.
55,
and pupil,
dramatic,
less
ill.
monu-
mental
that
LUST, Abraham
Apart from
dutch
de (second half of the 17th century)
at Leeuwarden in 1659, nothing is
of I)e Lust
Hoi, 1969, gives the Christian name of Abraham in
place of Anthonie by which he had previously been called, and there is
known
Amsterdam
de Lust, an
details,
an
need
it
be said,
is
still-life
neither
biographical
indicative of
artist's stature.
\s with
22H.
certain
33x38
I.
OPLZ,
in.
signed
(83-9x96-6 cm.)
163
LUST
same room
but
De
will not
Lust
is
The
is
poppy
and the red one to the bottom right set up the familiar diagonal.
Restraint and taste are shown in the simplicity of the few flowers and the
choice of palette white rose with deep blue gentians immediately above
and crimson hollyhocks to the top. The deep blue-green vase with gold
mounting was probably a prize prop of De Lust's. It features for example
in the work in the Herzog Anton Ulrich Museum, Brunswick, and in an
excellent one with Messrs Dou wes of Amsterdam in 1 96 1 The gold mounting
could be the work of the well-known Dutch silversmith, Jan Lutma (15841669), a friend of Rembrandt.
At some time a fake Rachel Ruysch (see p. 222) signature has been added
to the Oxford De Lust with a date 166?. In bygone times this would not
have been an unreasonable pretence in terms of quality, but the forger
should have avoided a date in the 1660s: Rachel was not born until 1664.
In fairness to the deceiver, his was a better effort than one in the Rijksmuseum, Amsterdam. This painting is by Elliger (see p. 104) and has
a false Ruysch signature and a date of 1659! It was Ralph Warner in his
book of 1928 who first correctly attributed the De Lust. The wish he
expressed then, that De Lust deserved to be better known as a flower and
fruit painter, remains to be fulfilled.
LUYCKX,
229.
2 5t
LUST
m
x 2 2
(64*8 x
546 cm.)
Christiaan (1623-1653)
flemish
Luyckx was one of the many minor artists who painted garlands in the
manner of the great Seghers. Born at Antwerp, and first instructed by
Marlier, Luyckx obtained an appointment as painter to the King of
Spain
in
known by Luyckx;
one of these three and the first one to be published. To judge from
the quality of this panel, one can only repeat for Luyckx the wish expressed for Seghers, that he had painted more bouquets and fewer garlands.
Prado, Madrid. Only three signed vases of flowers are
ill.
230
is
ataxia
first slight
ments, was
is
symptoms
in
1879.
By 1882
young painter
visited
Manet
French
Manet felt
(now
made
As
two
in
made
LHerbe" (1862
3,
closer.'
Musee
230.
1.
164
JfCKX
in
(31*8 x
24H cm.)
throughout Manet's work but the approach of the still-life painter is fundamental to his whole attitude and innovation. As Malraux has written,
'It is not by chance that Manet is above all a great still-life painter'. (Among
the first pictures which Manet sold to Durand-Ruel was one of his marvellous
salmons.) Manet looked at life, animate or inanimate, whether a head or
a lemon, with a very objective eye. However much he admired the crattsmanship of Goya and Chardin, neither the pathos of the former nor the
MANET
have
felt
On
which
is
light
grey background,
This
little
hours, were
many
friends
'I
Introduced
one of the
at the
floral rages
Musee de
was undoubtedly due to the Impressionists, but Manet always stood apart
from their ranks. His flowers are not fused with the light around them as
Monet's were to do. To what extent Manet was the last of the Old Masters
and the first of the modern, and just how much he is responsible for the
innovations of the Impressionists, remain questions long to be discussed.
Where would his evolution have taken him if he had not died at fifty?
What is certain is that what Manet loved was not the subject nor the problems
of composition, but the act of painting - directly, urgently, joyously.
Whatever
March
1883, is in the Paley Collection, New York, with two roses, pink
and yellow again, lying on a table with their stems. The oil paint has the
same free 'jottings' effect as the watercolour flowers with which he liked to
in
embellish his letters. Manet cuts away much of the artificiality, the presentation-package aspects, which intervene in flower painting between his
vision and that of the earliest masters of the seventeenth century. Needless
to say Chardin, ill. 138, is an exception and a stepping-stone from them to
Manet. Can he have failed to see the Edinburgh Chardin, then in the
Marcille Collection
come
to
Mery Laurent,
a great
in
La
first
165
MANET
sixteen.
and
who
when he took
Men
cared for
to his
bed
Mallarme, another
lover,
and years
later
MARLIER,
111.
is
German
14-1681)
closely
Rhine,
Marrel
is
Frankenthal
on
the
Jacob
Although born at
where
his
grandfather,
Claude
Frankfurt-on-Main,
associated with nearby
was active in Utrecht and a pupil of Jan Davidsz. de Heem. Marrel's movements are known by his unusual habit of putting a location with his signature and date. Two well-known examples (Rijksmuseum, Amsterdam, and
Ashmolean, Oxford) inscribed Utrecht are both dated 1634. In 1641 he
married at Utrecht. As would be natural Marrel travelled between Utrecht
and Frankfurt throughout his life. A large vanitas canvas at the Staatliche
231.
Merian
Thus Marrel became the teacher of his stepcompany with his young pupil, Mignon
He
is
mentioned there
Jacob Marrel forms a link between two early centres of flower interest,
Frankfurt and Utrecht, and between the Bosschaert tradition and the great
Flemish masters, De Heem and Seghers. What is surprising is the early
date of 1637 on the newly published Karlsruhe painting already mentioned.
This is a most distinctive and elaborate vanitas composition of a vase of
flowers surrounded by a violin, music sheets, a skull, books, a pipe with a
burning taper, and many other symbolic items, set in a stone niche with
winged putti in the spandrels. But for the date one would be tempted to
put this vanitas, into the later part of Marrel's career when he apparently
turned to vanitas subjects and
flowers. Bol,
at
1969, illustrates
the Staatliche
Yet
if
the
[66
is
including
neither necessarily
a still-life,
Kunstsammlungen, Kassel.
-ilass
isolation, there
still-lifes,
such
no mistaking
its
is
taken in
Marrels already
MARLIER,
245 x 18+
in.
signed
(62 x 47 cm.
MATISSE
came under
Rijksmuseum painting of 1634 Marrel put a dead,
upturned frog beside the vase, directly taken from Ambrosius the Younger.
Like the Bosschaerts, Marrel was fond of flamboyant striped tulips which
tinuing the Bosschaert tradition in Utrecht and Marrel clearly
feature in
the top in
all
ill.
see p. 229).
Writing in the
praised the
MAST,
artist's lifetime,
1600-1658 or later)
dutch
mentioned in the guild in 1627, Van der Mast
(or du Mast) is known by one work only, ill. 232, of 1656. Records of his
two marriages and his will exist.
Although clearly a follower of Van der Ast on the evidence of this one
panel, Van der Mast has sufficient quality to warrant inclusion. To the
best of the writer's knowledge the watch is outside the repertoire of the
Bosschaert family. Perhaps investigation among the works of Van der Ast
and Assteyn would reveal other examples.
(c.
is
MATISSE,
who was
to
it
232.
MAST,
2 7 x 36$
in.
His wish that colour should be freed from the bondage of imitation to
express the emotions of the painter in front of his subject was a goal achieved
slowly by faithful pursuit. By expressing the feelings aroused by the subject,
M.itisse felt a greater reality could be
but he also
felt
167
MATISSE
Of course
He
like the
Moroccan
The
serenity of his
the other
life at this
time
is
time
made
reflected in
less agitated,
is
still-lifes
It is
is
ill.
155.
More
so than with
monu-
felt
he achieved
233.
MAYRHOFER,
20 x 14^
in.
which might be
like
for every
man
or writer,
armchair
in
which
to rest
from physical
fatigue.'
Austrian
Born
in eastern Austria,
Spanish
MELENDEZ, Luis (1716-1780)
Although Melende/'s mother was Italian and gave birth to her son at
Naples, his father was Spanish and the family returned home soon after
[68
234.
MERIAN
13A x ii
in.
(333
x267
cm.)
MERIAN
Melendez was
is
best
known
room
to decorate a
235.
MELENDEZ
20^x30!
in.
Aranjuez palace, and intended to show the many fruits from lands
under Spanish rule. Their robust simplicity is reminiscent of the finest
in the
manner along
in a frieze-like
composition
There
except for
is
2i,()
1685.
is
in
relief.
Spanish
Nothing
is
known of
Professor
were popular
in
fleeting
MERIAN,
the allusion
is
extended,
arranged
sensitivity.
vanity
fruit
MELGAR,
111.
bathed
simplicity in this
is
111.
own
life
artists
in the
GERMAN
so
many
of her brilliant
is
well
docu-
with
books, to the
of
\()i)
MERIAN
Born at Frankfurt in 1647, she was the daughter of the engraver Matthaus
Merian who had once worked in partnership with Johann de Bry and
engraved his Florilegium Novum in 1641. Matthaus Merian was an old man
when his daughter was born and after his death his widow soon married
Jacob Marrel. Sybilla studied painting with her stepfather, in company
with Mignon and Johann Graf, a flower painter she married in 1668.
Then in 1685 she separated from her husband and with her two daughters
joined a religious sect in Friesland. Thirteen years later in the company
of one daughter, Dorothea, she embarked on a long voyage to Surinam in
South America where she collected specimens and made drawings of insect
Throughout her
life
Sybilla's
in 1701,
entomology and from childhood she had made drawings of insects. The
volume of flower studies at the Natural History Museum, London, includes
a gouache stud) of irises, ill. 234, which represents her best work, handled
with meticulous craftsmanship and an obvious understanding of the
botanical species.
METZ, Johann
Austrian
Martin (1717-1790)
During
Bonn.
of
of
the
Met/
the
service
Elector
Born at Bonn,
entered
ceilings
panels
and
overdoor
on
floral
the 740s he was mainly employed
1
170
236.
MELGAR,
I5|x22|in.
(39
x58
cm.)
MIGNON
at Briihl, a
architect.
an
From
art school.
The
1761 to 1781
echoed
is
flowerpieces like
in his
237 characterized by the sinuous tendrils of ivy and sweet peas as well
as delicate grasses, trails of nasturtiums and wild flowers. Johann Martin
Metz and his family worked also in England, although nothing is known of
ill.
MICHEL X,
Born
at Paris,
designed
floral
He was
French
factory
where he
Academy
in 1725.
fine vase
Pyrenees,
is
by Monnoyer.
238
111.
bunch of yellow
is
much
and
simple
mauve
door of
a piece
room.
MIGNON, Abraham
German
(1 640-1679)
Frankfurt-on-Main, son of a merchant, Abraham Mignon was a
prolific flower, fruit, and still-life painter. Although German by birth, and
catalogued under that school, Mignon is included in the literature of
237.
Dutch painting
34^x29
Born
at
in the
first
teacher in Frankfurt,
METZ,
in.
to whom he probably went very young, was Jacob Marrel (see p. 166).
Marrel took him to Utrecht in 1659 to become a pupil of Jan Davidsz. de
Heem, as Marrel himself had been. Mignon is recorded as a master in the
Utrecht Guild from [669 until his death in Wetzlar in 1679. Clearly he
moved between Utrecht and Frankfurt during his career. In Utrecht he
was a deacon of the Walloon church in 1675, and he married the grand-
Adam
Schook
(see p. 231
In the work of
Willaerts.
Stuven
(see p. 245)
and
Dc Heem
in
all
faithful to
it
different facets
its
through
Mignon found
his
productive
career.
Within
The
is
really there.
is
treated in the
same wax
as
De Heem's
in
ill.
185.
among
the petals
the majority of flow cr painters in the third quarter of the seventeenth century,
a fairly
in
is
on the lower right on the edge of the shelf- a detail not mentioned
excellent catalogue of the
III.
z]<)
similar
shows
type.
It
be that
clarity
ol
in the
Bequest.
may
Ward
signed
same dimensions, of
a very
Mignon
at
De Heem and
his
major followers
possess.
238.
MICHEUX
7i x 5i'n- (ig x 14
cm
171
MIGNON
239.
MIGNON,
19 x 15 in.
them.
in
Ruysch's
other
sister,
its
Mignons of
Anna, made
squirrel
in the
well
is
copy of
in
The example
little
ill.
this painting
which
is
Rachel
now
in the
317.
Saxony who
am no
it
is
FRENCH
doubly crushed by
my
misfortune and
172
The chance
1870.
my
So Monet wrote
survival of a
At
this
is
going to
my
feel
loved ones to
whom
cannot
de Bellio on 30 )ecember
large number of Monet's letters has allowed
to
)r
signed
MONET
Monet
necessarily struggled
Not
that
of the group, Pissarro and Renoir, but what one knows more
about seems worse. At least Renoir and Pissarro had temperaments better
equipped to 'put up with misery than Monet. He felt anger, resentment
boys
at those
who were
his
staunchest and most generous friends, like Frederic Bazille, the gentle
giant
from Montpellier.
Franco-Prussian war in
1870 was another gloomy factor in the depression of the 1870s. The last
thing to be in the years after the horror of the Commune was an innovator,
a
No
doubt the birth to Camille of Monet's first son in 1867 had been in the
most humiliating circumstances: 'I suffer from knowing that his mother
has not enough to eat. Neither she nor I have a penny', he wrote to Bazille
soon after the baby arrived that year. Did Monet perhaps lay on the agony
in his letters to Bazille and others so that they might send more money?
No. There is no evidence to that effect and every reason to accept the
truth of these private letters. They are hardly expressed in the terms of
someone enlisting sympathy. For example, Monet's casual postscript in
a letter to Bazille of 1868, 'I was so upset yesterday that I did a very stupid
thing and threw myself in the water, happily with no ill effects'. In any
case, there is often corroboration. Thus Monet's lack of enough to eat
240.
MIGNON, signed
23! x 2o|
in.
(60 x 51 cm.)
173
MONET
241.
MONNOYER,
265 x 19^
in.
death in 1926.
(665 x 49 cm.)
These
when looking
at the
lilies in
the celebrity of his old age. Perhaps also such notes will banish again false
ideas about the
life
led
by penniless
artists in
'Gay Paree\
One
242. (opposite)
:;;
in.
MONET, signed
(54-5x65 cm.)
of the friends to
whom Monet
1878 was Dr Paul Gachet: 'I thought that in the circumstances (the baby
was due in a day or two) I might ask you again, even though I still owe you
a hundred francs'. Monet urged the doctor to recompense himself with a
painting. Dr Gachet, like de Bellio, Murer and Chocquet (see Cezanne)
was one of the early enthusiasts of Impressionism. He is best known to us
from the portraits of Van Gogh who spent his last months with the doctor
at Auvers-sur-Oise. Perhaps Dr Gachet acquired the 'Chrysanthemums'
of 1878, ill. 242, against one of these debts - an appealing idea but lacking
in evidence. It is one of many paintings given by his son to the French
nation. Although Monet is for ever linked with water-lilies, flower bouquets
did not engage his attention nearly as often as they did Renoir.
were
for
Monet
a subject for
days
when
really
They
in his
away from landscapes and Paris views. Nonetheless, in the Imshows of 1874, 1876, 1877, and 1879, Monet showed flowers
among his exhibits and in 1882 there were five flowerpieces. One of his
earliest exhibits at Rouen in 1864 was a flowerpiece. The 'Chrysanthemums'
of 1878 are strikingly different from the rest of his flower paintings: the
studio
pressionist
vase
is
painting
portrait of Camille in a
covered b) fans.
'74
is
artificial
MONNOYER
of their interest for Monet, due in part to the example of Renoir. In the
latter year Monet painted a pot of flowers standing on a yellow striped
243. (opposite)
MIGNON
20 x
244.
MONNOYER, Jean-Baptiste
4|
in.
(50-8x37-5 cm.)
which sold in Xew York in 1917 for $4,000, and a more conventional
bouquet of gladioli and marguerites exhibited at Washington in 1955
(Collection of Mr and Mrs Paul H. Xitzie). 'Chrysanthemums' of 1882,
Havemeyer Collection, Metropolitan Museum of Art, Xew York, appears
to be much closer to the style of Renoir (see ill. 304) than the 1878 bouquet
which serves to emphasize their differences. There are also 'Chrysanthemums' of 1880 in the Xational Gallery of Art, Washington, and 'Sunflowers' of 1 88 1 in the Metropolitan Museum of Art, Xew York. The
development of Monet is well illustrated by a comparison of this group of
cloth,
immediately with the strength of the hand behind the eye. Against the
events of 1878 these flowers by Claude
durability of the
MOXXOYER,
human
Monet
spirit.
Antoine (1672-1747)
French
Born
at
century.
111.
241
a typical
is
Monnoyer
in
flowerpieces.
of Louis
\I\\
French
of
Born
at Lille in 1636,
Monnoyer,
or Baptiste as he
is
Paris.
Antwerp before
in
and
his
in
1665
Academy
his reception
godmother
to
to
Baptiste set
homes,
In
a style of
collaboration
with other
at
at Versailles.
and Beauvais tapestry works he painted flowers in many scenes and designed
floral borders and motifs. The owners of the finest private homes, such as
the Hotel
Lambert, were
in
73i x 43l
in
l8 7 x Iri cm.)
177
MONNOYER
245.
MOXTICELLI,
24! x 17!
his great
the
duke
and, for
ville,
later to
From
in
London
in 1699, apart
78
in.
(63
x44
signed
cm.)
MORANDI
In
common
often black pencil on blue paper with white heightening, were sought-after
from the
difficulties
He
personal
MONTICELLI,
Born
at
MOREL, Jan
sfx^in.
(13-5 x
Baptiste, signed
108 cm.)
French
Adolphe-Joseph (1824-1886)
246.
He
imbued
training from Augustin Aubert and took great pleasure in painting 'Ladies
in a
Park' in the
manner of Watteau. He was a romantic dreamer, proEmpress Eugenie whom he saw walking on
colour
in
bathed in bright sunlight. In ill. 245 the flowers stand on a sundrenched ledge with half the bouquet powerfully silhouetted by the cool
his objects
own.
During
his
he was deepl)
MORANDI,
Giorgio (1890-1964)
Giorgio Morandi remained unaffected by fashionable
Italian
artistic
trends of his
unmoved by
day,
in isolation in
247.
31
x 22^
179
249. (above)
7 x of in. (17-8 x
1859
161 cm.)
lrtmuk/9/t
248.
(left)
325 x 26
MORANDI,
in.
(82 x 66 cm.)
248, an early
flemish
Baptiste (1662-1729)
He was
Brussels.
and
Antwerp
both
at
worked
Morel
Antwerp,
Born at
Maximilian
Elector
the
for
worked
and
Verendael,
of
pupil
the
apparently
of Bavaria as well as many wealthy Brussels families who employed him
known
as decorator of their new houses. Surprisingly, very few works are
MOREL, Jan
by Morel, but ill. 246 is a small signed example. It is not dated, but as
must be at least late seventeenth century, the bouquet is rather archaic.
it
dutch
his
Born at Amsterdam, Jan Evert Morel was a pupil of Linthorst, and
to
related
not
is
illustrated.
He
example
master's influence is seen in the
outstanding
an
is
Morel.
111.
B.
name,
247
the flemish artist of the same
J.
example on panel signed and inscribed 'Amsterdam'. Morel was the
180
250.
MUTRIE,
30 x 25
in.
(76-2
63-5 cm.)
25i
MORI SOT,
dated 1876
(46x55 cm.)
MORISOT,
French
Berthe(i84i-i895)
first
avant-garde painters. In the autumn of the same year, she married Eugene
whom many
started the decline of art in the previous decade with his 'Dejeuner sur
/'
Though Manet
who came
to
after the
Commune,
people
in the circle
MORISOT
They
The
did get
in
1876 to an aunt,
in a letter in
'you don't read them'. Beneath the delicate feminine gracefulness of Berthe
Morisot's work there was a character of great strength which alone allowed
her to follow unwaveringly her chosen path. If her
life
lacks the
drama,
among
The wide circle
them
is
of her friends were united in the unaffected and affectionate friendship they
felt for her.
The second half of the 1870s was a period when her adherence to the
importance of daylight as the determining factor in the appearance of an
object and its colour appears complete. 111. 251, 'Dahlias' of 1876, shows
that her brushwork, however, retained its very personal characteristics.
She never tried the systematic dabs of the brush that Monet and Pissarro
favoured, but painted with
more
sweeping strokes.
The
She was also very fond of fans - her friend Degas had given her one and these too re-appear in her rare flowerpieces. These dahlias are closely
comparable to the work of the artists she decided to join, but Impressionism
with Berthe Morisot is endowed with a very personal note not only by the
distinctive touch of her brush, but by a certain sensitivity in all that she does,
reminding us of the influence of her teacher, Jean Baptiste Camille Corot.
252.
MYN,
29! x 255
MOSER, Mary
in.
(76 x 64 cm.)
British
(1744-1819)
It is
Redgrave, writing
she
artist.
the
Society of Arts for her drawings at the age of fourteen in 1758 and again
Walpole,
in his
her father,
why
at the
election as a founder
member
to the
'history
painting',
for
182
253.
MYN,
29 x 24^
in.
Herman van
der, signed
MYN
mule'. She was clearly a charming woman who could comment wittily
and eloquently on the society and the arts of the day.
Although her biography is far from complete, it is encyclopedic compared
to those of other artists; but the reverse is true of her work. The sum total
of the present enquiries, apart from ill. 257, in the Royal Collection, are a
pair of ovals at the Royal Academy of Arts, London, seemingly uncleaned
since her lifetime; an example included in the Fairhaven Bequest to the
Fitzwilliam Museum, Cambridge; a signed and dated watercolour of
1768 in the Spooner Bequest to the Courtauld Institute Galleries, London;
and studies at the Victoria and Albert Museum, London. Throughout
the country there must be neglected examples of her work.
some deterioration in
would suggest it was designed for a specific space in
panelling or plaster ornament on the wall. The lilies, honeysuckle, and
fuchsia are especially pleasing, and the artist was clearly a student of the
111.
older
Dutch masters
background and overall tonality are more akin to the later seventeenth
than the later eighteenth century. While no more than a minor role could
be claimed for the English
in the history
of flower painting,
Mary Moser
is
it is
carrying
so obscure a figure to
MOUNT, William
American
Long Island
S. (1807-1868)
254.
i
NELLIUS,
if x 8| in. (29 x
signed
225 cm.)
249
is
example
is
members
of the family.
MUTRIE,
British
Annie Feray (1826-1893)
Annie Feray Mutric was the younger of two sisters who studied at the
Manchester School of Design. She first exhibited at the Royal Academy
in 185
and following her success she moved to London and exhibited
regularly until 1882. Her work found favour with John Ruskin who praised
her 'very lovely pure yet unobtrusive colour'. 111. 250, showing poppies in
an ornate ecclesiastical setting, is signed and dated 1865 and reveals the
artist's delight in surface texture. Stone, cloth, tapestry, glass, silver, and
1
wood accompany
the flowers.
255.
MYN,
One
dutch
of the eight
children
M\n settled
No doubt her
who all
London
in
1772.
in
although
it
must be
said to
fall
in.
(58-5x53-4 cm.)
van der
ready
NICHOLSON,
23x21
in
shown
in
252, found a
eighteenth-century England,
in
ill.
183
MYN
MYN, Herman
father, several of
and made
their
NELLIUS, Marten
London
dutch
(active 1670-1706)
almost exclusively
is
a still-life
painter and
256.
NIEULANDT,
still-life.
He
is
particularly
sixteen.
many
English
artists
lilies of
Xicholson seems to be
unaffected by the polemics of Post-Impressionism, content to show his
white tulips and the light-coloured bowl and cloth in conventional terms
of light and shade. The sure touch of the brush reveals a confidence that
characterizes so many of his portraits. It is interesting that the apparently
traditional William Xicholson was one of the main supporters of his son
Ben, who was to become one of the best-known British abstract painters.
Smith,
ill.
two
later,
26J x 25^
in.
MOSF.R,
(no 4 X
054
signed
cm.)
NIEULANDT,
Born
\erlcat left)
18
(6a
MARREL,
35 x 27$
in.
9x45-8 cm.)
OS, Jan
(88 u X 7c
cm.)
at
He
van, signed
is
by contrast
is
vamtas
is
\nton Ulrich
background, and
flemish
in
still-lite
of 1616
at
the Herzog
still-life. 111.
2$b of 1636,
y
ot
'
[84
It
Bi
*
*')
ar
***.
iE
fi
'^tsd **^i
*J
'
^ *#
'
*c
"
,#..
f r.^
<
B&%
^p-^j
m^m
^^
VJP**^
^^
*-^P
^^rT
.
i
"
'
NUZZI
NIGG, Joseph
(1782-1863)
Austrian
Joseph Nigg is with Petter the best-known member of the Old Vienna
School which flourished so strongly in the first half of the nineteenth
century. Nigg was a pupil of Drechsler at the Academy and later worked
in the Vienna porcelain factory, As ill. 262, datable c. 1840, suggests, Nigg's
compositions were like Petter's more elaborate than those of his teacher.
The
colours are in a very light key, especially the foliage, and the then
artists
effects.
in
after a
262.
MGG, signed
22$ x i6j
in.
(56 7 M 42 cm.)
261
in.
(55QXQ2I
(opposite below)
34 x 5ot
in.
Nolde came
SORF.AU
22x354
German
cm.)
MONNOYER, Jean-Baptiste,
signed
of amaryllis.
111.
NUZZI, Mario
(1603-1673)
many
Italian
known, was the most celeSo famous was he that a street was named
de' Fiori as he
his
lifetime.
is
better
Perhaps because of
his
importance
above question are rare. He came from Penna Fermana to Rome where
he studied with his uncle Tommaso Salini, an important still-life painter.
In 1634 Mario Nuzzi is recorded in the Academy of St Luke and in 1659
he was involved in a major commission of the Four Seasons for Cardinal
Flavio Chigi. These Four Seasons remain in the Chigi Collection, Rome,
and the best known, 'Spring', shows Mario Nuzzi at his easel. Nuzzi
painted the flowers and the portrait is by Giovanni Maria Morandi.
Seghers' visit to Rome in the 1620s had created a demand there for
163
NOLDE, cigncd
ii in
(47
9M
nocm
189
NUZZI
manner of painting
influence of Nuzzi
is
marked
and
also to
son of a painter,
Nymegen
**
//v/j
''"V
.O
%?
.
, _*
dutch
at
fashionable work of
The
'
U * ri
)ffyM
^>
>
IBjtjI
Bis
mm
dutch
JfOt
> <k
fessfc
in contrasting reliefs.
OBIDOS, Josefa
The
born
in
Spain
at Seville.
The
Portuguese
de (1630-1684)
moved
to the
enchanting walled
life.
As
*Cf
^:
J/-
well as
now in the
Municipal, Santarem,
der
is
one of
a pair signed
264.
Si
llpp
NUZZI
284 x 22^
in. (72-
4x
565 cm.)
40 x 50
in.
33^x63
NYMEGEN
in.
OBIDOS,
Hamen.
O'KEEFFE, Georgia
American
(b. 1887)
Georgia O'Keeffe came from being a small town art teacher to the centre
of American art in the 1920s and 1930s, Greenwich Village, New York
City. She was recognized by an art dealer, Alfred Stieglitz, who not only
exhibited her work, but eventually married her. Although she nominally
belonged to the Precisionist group, an American Cubist offshoot, her work
was not abstract but concentrated on real objects of a wide variety from
skyscrapers to flowers. Her most remarkable works are where she has taken
a still-life object and magnified it. 111. 268, 'Calla Lilies', of about 1927, is
the most perfect representation of the flower in the hands of an artist
interested in abstract values yet highly sensitive to the character of the
flower.
The
lilies
OOSTERWYCK,
dutch
Maria van (1630-1693)
many famous lady flower painters, Maria van Oosterwyck
U)0
165.
4AX3I
in.
(10-5x9-
can.)
1830
OS
Amsterdam, and The Hague. Like her more famous successor Rachel Ruysch, she found favour with royal patrons beyond the
borders of Holland, including Louis XIV, Jan Sobieski, Emperor Leopold,
active at Delft,
William III of England (hence the example in the present Royal Collection),
and the Elector of Saxony. The Dresden Albertinum was largely the creation
of the Electors of Saxony and it is appropriate that ill. 269 should come
from that museum. It is one of a pair of pendants of fruit and flowers. The
sunflower
at the
grass.
at the
Mauritshuis,
in this
The Hague. By
example
example. She was reputedly a slow worker and her work is certainly
She also painted vamtas subjects of which the most elaborate
rare today.
was exhibited
Leyden
in
at
111.
Van Os
He
270
is
a perfect
or combinations of
all
game
pieces,
much
Dutch
sister
to
Jan van
his
as finished
dutch
Huysum
in the
pieces for the elegant interiors of the eighteenth century was Jan van Os.
Although born
the eyes of
at
Middelharnis
he remained.
He became
known through
The Hague at an early age and there
of Schouman from whom he received
to
collectors
who was then living in The Hague. Towards the end of his career Van Os
became director of The Hague Academy. Having found his best manner,
Van Os saw no reason to change it - which coupled with the small number
of dated works, makes any attempt to trace a chronology inappropriate.
He
also painted a
is
Long
before
the Revolutionary upheaval, his reputation was well established not only
in
England but
collection of the
'The reputation
in
France
too.
At the Paris
sale in
(above)
it H 12 in.
O'KEl
The
elder,
(407 X 30'i
Oil.)
191
OS
269. (above)
28| x 22
in.
OOSTERWYCK, signed
(72 x 56 cm.)
and flowers,
settled in Paris
porcelain factory.
1 8 12 he worked for the Sevres
The
where from
Magrita (1780- 1862), though less well-known than her brothers, was also
tradition.
a competent painter. Grandchildren continued the
but his favoured comfruitpieces
and
flowerpieces
Jan van Os painted
of riches. Of this
display
dazzling
into
a
two
position was a blending of the
like the plume
top,
the
at
coxcomb
The
type, ill. 259 is the finest example.
elsewhere.
used
Os
Van
which
detail
distinctive
of aknight's helmet, is a
Further down the little mouse eating from the walnut, like all the inhabitants
ol the
of this cornucopia reverts to the traditions of the early flowerpieces
left
the
on
rose
the
pink
of
transparent
previous century. In the superbly
original.
the
in
seen
be
can
a few of the artist's pencil strokes beneath
Van Os drew lightly over the well-primed panel with rapid strokes to lay
et Van Os
out the composition, without in any way putting in details. 1
as records
served
ma\
have
made finished watercolour drawings which
themselves.
in
of oil paintings and were certainly collector's items
270.
102
van, signed
is
PALMER
271.
(left)
28^x22
OS, Jan
in.
van, signed
(73x55-9 cm.)
delicacy.
The
of individual flowers
Van Os cedes
little
iris
to
in the detail
Van Huysum.
How
Van Huysum's
sound another practical note, when a Van Huysum is well-nigh unobtainwhat lover of painting would disdain the work of a worthy follower ?
able,
OUDRY, Jean
The
Baptiste (1686-1755)
Oudry and his teacher Largilliere
relationship between
French
is
unusually
known
as flower painters
game
still-lifes
He
tells
difficulties
how he was
Oudry
is
and examples
famed for his
of painting white
is
recorded
in
Oudry's
which were then set before a pale background, and then the varying tonalities
were explained. The teachings of his master set Oudry on the path to great
success for when his 'White Duck' (Marquess of Cholmondley Collection)
was exhibited at the Paris Salon of 1753 it was widely acclaimed. The
painting shows a pure white duck, a white cloth, a silver candlestick, and
a white bowl filled with cream set against a white ground.
The
tunity for
still-life
painters,
OUDR1
\S{ in
(130/
room
cm.)
or
one of
unused
a real vase
of flowers
to hide the
by the
PALMER,
fall
272
is
where
much by perspective
(c.
the
American
1812-1876)
American People
is
the apt
title
of
173
20 K 27^
in.
i<)3
PALMER
Even more
so than in
trellis
in the landscape.
in
popularizing art in America, and the prints of Currier and Ives were the
which most of the population could bring it into their homes. More
the flowerpiece was brought to the attention of painters,
amateur and professional when, even in the 1860s, the subject was still a
way
in
specifically,
comparative novelty in
oils.
PARET,
Spanish
Luis y Alcazar (1744-1799)
Fernando.
of
San
Academy
painting
at
the
learned
Paret
Born at Madrid,
He was a cultured man, speaking many languages and widely travelled in
He
Europe.
he became a
member
of the Academy.
(ill.
'PAULINE' (1806-1840)
A study of the many ladies who
have
at all
periods
AUSTRIAN
become worthy pupils
many Frenchwomen,
is
274.
PARET,
15! x
4|
in.
signed
(39
x37
cm.)
who
took up
and was always known, was born in 1806 to a wealthy Viennese military
family. She married in 1835 a future Minister of Justice but died tragically
young. Her teachers were Petter and Waldmuller and she exhibited only
seventeen paintings over a decade from 1830 until her death. Most of her
work, which was known only to friends and contemporaries in the city,
remained in her family for over a hundred years, long forgotten and neglected
by all but her descendants. 111. 275, of 1833, is a superb panel which shows
her very considerable abilities and has that brilliant sparkle characteristic
of Waldmuller, allied to Petter's expert knowledge of rich floral display.
The
as
is
Museum,
work
is
re-
Vienna.
American
(1784-1865)
used by Bol of the Bosschaert family, are too familiar
in flower painting to surprise the reader. In common with much of American
still-life painting the founding dynasty, the Peale family, were rarely painters
PEALE, Rubens
Dynasties, a term
first
is
at least
a striking
1840.
The
( 1
ill.
whom
He
'04
275.
25 x
'PAULINE',
1
Si
in.
(63*5
X 46 cm.)
PEALE
276.
PEALE,
20 x 24
in.
(1774-1825),
James Peale
a portraitist
Rembrandt
( 1
(1 749-1 831),
who
died young.
still-lifes
Rubens Peale, who was not the equal of his uncle nor his brother Raphaelle
as a still-life painter, turned to painting only after a long career trying to
it
Columbianum
or
American Academy
of Fine Art whose opening exhibition at Philadelphia in 1795 was the first
of its kind by such an institution in America. Rubens was fortunate that
his wife's family had the means to re-establish him in rural Pennsylvania
when the last museum venture failed in New York in 1837. His
Mary Jane Peale (1827-1902), had been studying portraiture
daughter,
with her
uncle Rembrandt, but returned to the farm to care for her parents. It was
she who inspired her father to begin painting at the age of seventy-one.
The career of Rubens, the painter, lasted for only one decade until his
death
assassinated.
original
date beneath
at
work of
memory
still-lifes
of his father C.
W.
James
or Raphaelle.
The
Rubens
has the
artist's
attempt
inscribed the
brown centres and the scarlet cactus flower are most striking. Rubens
was hampered by failing eyesight; even as a young man he wore spectacles,
as seen in a well-known portrait of 1801 which shows him holding the
first geranium plant in the country and was the work of brother Rembrandt.
their
museums.
The Peale tradition of still-life, which was carried to our own century by
Rubens' daughter, was even more strongly sustained by three of the
daughters of James Peale. Philadelphia was also established as a centre of
the art in America.
195
PEETERS
277. Detail of
278.
PEETERS,
23|xig
PEETERS,
ill.
in.
278
Clara, signed
flemish
among the
at Antwerp,
the history of stillenriched
have
first of
active in Italy, and the younger
life and flower painting. Fede Galizia,
painters
Louise Moillon at Paris were also like Clara superbly accomplished
undisputed work has preof still-life, but the absence of flowers in their
cluded their appearance in the present volume.
many
distinguished
is
women who
The
later birth
name, because the earliest dated example is of 1608 and, if the
this
While
fifteen.
under
girl
a
of
work
date were accepted, would be the
in
was
She
nineteen.
was
she
that
plausible
is not impossible, it is more
Some
in
living
still
1657.
and
Amsterdam in 1612, The Hague in 1617,
knowledge of her training and circumstances would be most interesting.
which
belongs to the early tradition of still-life painting
Clara Peeters
paralleling
began in northern Europe at the end of the sixteenth century,
of which
work,
her
of
part
the development of the flowerpiece. The larger
flowers,
without
still-life
only some thirty examples are now known, is
as
objects
precious
sometimes of foodstuffs alone, sometimes containing
[96
PETTER
Every object
well.
is
set out
like Floris
280. (opposite)
15^x9
in.
REDOUTE,
(39-4x22-9 cm.)
flowers, as in
and purple
sparkle to their
anemone
tulip
work by catching
of the right-hand
gilt
reflections of light.
own
Amid
the highlights
hand,
almost exactly similar vessel appears in
An
reflection, palette in
the centre of a panel at the Prado, Madrid, dated in the previous year,
1,
coins in
The
coins here
vase on the
left
show
more
still-lifes at
superb skill,
example illustrated.
They
elaborate.
as strongly as the
unusual
281.
PEETERS,
281
is
PEETERS,
30^ x 25J
in.
Geertje, signed
the only
Clara Peeters.
PEREZ, Bartolome
Spanish
(1634-1693)
Madrid, Perez was the pupil of Arellano and later became his sonin-law. In 1680, he was recorded as a decorator to the king in whose service
he was painting a ceiling four years later when he fell to his death from
Born
at
the scaffolding.
his father-in-law
and thus
to
some
extent reflect the taste for Italian painting, but they are less agitated. Perez
is
Newark,
New Jersey
was exhibited
at
dated 1666,
outstanding.
PETTER,
Horn
is
in
The
irises
lilies
and
Lyman
from the
in 1964.
111.
Allyn
282, which
is
Museum
signed and
Austrian
at
porcelain painter, Petter succeeded his teacher
Drechsler as a professor at the Vienna Academy in 1814. In 1835 he became
director of the porcelain factory. Petter was an honorary member of the
ol a
in
1822,
282.
same penchant
for blues
and
32?;
PEREZ,
x 24$
in.
(83 x 62 cm.)
199
PETTER
283. (left)
PETTER,
37|x 2 8iin.
is
artificiality
is
Petter's best
pieces were
is
The
standard of quality in
work
is
much
in
demand
in his lifetime.
(1771-1840)
French
Sevres.
as well as
style of
Van Os
is
obvious, implicit
in
200
284. (above)
15
x i8^
in.
(95
x73
cm.)
PHILIPPINE
(38x48 cm.)
PICART
Born
at
training but
his
later
of 1645 was to last for thirty-five years. These personal misfortunes did
not impede his steady progress. Picart worked with energy as an artist and
with success as an art dealer.
Young
artists
As with
his
although he never lost contact with the artists and artisans of the
Flemish community of which he was, in the second half of the century,
status,
work and
his
in
widow
among
the experts.
of Charles
Bonnet,
When
a miniaturist
to this
art,
at Paris in 1682.
The work
and
to
still-life
mind
279 immediately
111.
happens
it
to the
The
calls
plain
ill.
painted with great delicacy and strength of colour. This signed oval panel,
one of an unparalleled
pair,
is
it
must belong
to the earlier
demand among
the
more
it
is
so often a fugitive
same
'early' qualities.
chronology. Picart's
in
a favourite motif.
For example
it
occurs
where the vase is set on a flat box made of thin plain wood, almost
identical to the one which Linard used in the same way in his superb
bouquet at Karlsruhe. In the context of above remarks about the dating
of the oval, it is worth recalling that Linard died in 1 645. A dated work of
1653, a canvas which was sold at auction in Paris in March 1070, seems a
progression on a larger more elaborate scale from the early manner.
Presumably at a later date Picart painted ill. 285, a remarkable contrast
77),
works
in
It
PICART,
'
I01 x 78 cm.)
architectural setting.
285.
39$ x 3i
its
rich
mood
Monnoyer and his studio and no doubt this large canvas was part of the
decor of some sumptuous apartment. Close attention is rewarded by
of
noting not only the exceptionally wide range of flowers present, but also
the parrot and the elaborate urn.
Jean-Michel Picart's work was not confined to fruit and flowers for an
is mentioned in one instance, and in another he is
noted for landscapes. However, these may well be, like the marines of Van
architectural subject
Os and
the landscapes of
Van Huysum, of
little real
interest
compared
to
201
PICASSO
y (1881-
Spanish
Van Gogh
before
him
his
PISSARRO, Camille
(1830-1903)
In the story of Impressionism the oldest
French
member, Camille
Pissarro, holds
most
PICASSO,
286.
2 5l
x !9i
in-
(5
'
x 489 cm.)
gentle, kindly,
his death.
Madame
their
income
worked
garden
as a florist to
at
supplement
many
flowers but her favourites were the peonies of which she was very proud,
2X7.
PISSARRO,
l
202
Anyone who
visits
Ward
Collection,
PREVOST
ias
ft.
288.
POL,
i?4 x 14I
signed
'" (45'
x 375 cm.)
There
up of
Pissarro's work,
are also
da) of glory,
assure you.'
POL,
at
203
POL
288 shows that Van Pol was indeed a worthy pupil of Van Dael. The roses,
even compared with his master's, ill. 117, are particularly well painted.
Spanish
Madrid in the mid-seventeenth century,
Antonio Ponce was clearly influenced by the work of Flemish artists. The
most successful artists in Spain seemed to absorb foreign influences and
create something highly personal. On the other hand Ponce in ill. 289
after 1640)
at
signed and dated 1650, has retained the central vase and the symmetrical
arrangement of the flowers. It is perhaps interesting to note that, like the
irises and lupins. The
Spanish violet because of its sweet
scent, is very different from the garden lupins of today which were not
introduced into Europe until 1826.
earlier
known
as
of Neapolitan
still-life
at the
Italian
Paolo Porpora
age of fifteen.
painters.
He
generation
first
Giacomo Recco
Porpora moved
in 1656.
He
His early
to
Rome where
Academy
of St
Luke
move to Rome,
become more flamboyant. In Rome he must have come into
POXCE,
30! x 22!
in.
(78 x 58 cm.)
who
Capodimonte
at
Naples,
is
the finest
example of Porpora's mature style. A decorated stone vase holds an abundance of flowers, particularly mustard-coloured marigolds and pink and
white roses. The introduction of highly decorative variegated foliage on
the right is unusual. Before the vase trails a strand of morning glories,
painted in an intense blue. The cut surface of a melon on the table at the
left is contrasted with a cut-glass bowl filled with reflected light.
FRENCH
(1695-1759)
superb drawing in watercolour and crayon, is of particular interest.
Despite enquiries, no other example can now be cited of the exquisite
flower work of Jacques Portail, an artist of deserved celebrity in his day.
Portail was curator of the royal paintings at Versailles and exhibited at
the Salon from 1747 to 1753. Although he drew landscapes and portraits,
it was as a flower painter that he was admitted to the Academy in 1746. A
visitor to the Salon of 1747 noted how Portail used no white pigments in
his drawings but left the whiteness of the vellum or paper beneath to
III.
291, a
make
close examination of
removed by
ill.
291.
The
wash
foxing
is
restoration.
Among
a sale
the
of 1782, after his death. One of the experts for the sale was Joullain
the sagacity to buy the group of Portail drawings.
who had
57
PORPOR
X45J
204
in.
(150X
[6
cm
American
Apart from the younger Glackens, Prendergast was the only other member
of the twentieth-century Ash Can School who turned significantly to the
)
PREVOST
revelation to the
292
is
seems predominant
in the greater
PREVOST, Jean
(active
c.
1760-f. 1810)
French
293 is, to the present writer, the finest example of the work of Jean
Louis Prevost. Pupil of Bachelier, Jean Louis was the younger brother of
111.
Academy of
Salon of 1774,
St Luke.
'a little
critic
of France'. Prevost exhibited in the Salon again between 1791 and 1810.
The Victoria and Albert Museum, London, possesses a copy of Collection
de Fleurs et de Fruits with fine engraved coloured plates after Prevost's
drawings which was published in 1805. In ill. 293 the open jewel box reveals
two rows of rings held in a compartment. The same vase with putti appears
in an oval canvas in an English collection, illustrated in Paviere.
291.
PORTAIL
o" in.
aoj (right)
?y'> x
ngned
40- cm.)
PREVOS1
ligned
205
RAFFAELLI
RAFFAELLI, Jean
Francois (1850-1924)
French
was the pupil of Gerome and thus grew up in a Paris where artistic
theories were in deep conflict. Through a close friendship with Degas,
Raffaelli exhibited no less than thirty-five paintings in 1880 in company
with such artists as Gustave Caillebotte, Morisot, and Vidal. However,
he was never accepted by the majority of the Impressionists, and Gauguin
and Pissarro struggled to exclude him from their exhibitions. In 1884
Raffaelli
Raffaelli
wrote of Impressionism,
Most of
'.
it
is
^7
RAVENZWAAY,
dutch
294.
RAFFAELLI,
28^ x 24
in.
signed
(72-4 x 61 cm.)
gesque painters and also Spanish artists into the flamboyant milieu of
Naples. By comparison with the work of his contemporaries, ill. 296 is a
model of
vase.
in a shallow
to
REDON,
Odilon (1840-1916)
Conceived
in the
to live in a
New
world of his
mainly to the
later part
Even
French
World, born
own
of his
in the
life,
are the
germ of
The
artist's father
lost in
295
\ \
1^
ENZW A \Y,
in.
(74 x 60 cm.)
of adventures in the wild forests stirred the child's highly receptive imagina-
in
The
his
He
For
206
sea monsters which appear in his drawings may have their origins
mother's account of having seen such a creature on their voyage.
also inherited a love of nature and of music, but there the legacy ends
tion.
reason that
is
REDON
296.
RECCO,
30 x 213
in.
signed
HI
^Sj
til
CWt*M
-'';
1,
DH
v
i'
^^i
^-
J|VQ
^^^%
4
>
^L
Btfl
V^
.>%/'
1
^f^^
fi^ ^^
j,^p*T
^^
^B
^L
^H
\^^
B^l^^^^fc
Wa^^^
BfKL
Rcdon was
<jH
h1r::^~~2
lebade, near Listrac in the Gironde, which had been purchased with
its overgrown grounds
Les Landes was a magnetic force in the life of Redon,
drawing him again and again to refresh his need of solitude and contemplation. Shortly before his death he wrote most perceptively of Peyrelebade: 'After all, it may well be that in places most completely deprived
of features pleasant to the eye, the spirit and imagination must take their
revenge.'
At the age of
and
liberal care
his principal
was
in a
fifteen
concern for the next thirty and more years. Gorin's studio
the
young
own garden
artist
met
studio at Bievres
in
fifty
207
REDON
official
One
when
and
from the imagination. In the 1860s, when he was studying at Bordeaux
Of
Gironde.
La
Paris, Redon acted as art critic for the Bordeaux paper
and
subtle
the
of
resources
his friend Bresdin he wrote in 1869, 'To all the
consumate technician [words which might apply equally to himself] he
of imagina[Bresdin] adds the greater qualities of the thinker and the charm
in his
varied
and more
tion. Indeed, is there anyone more unexpected
in
lithographs
1879
fantasies?' When Redon published his first volume of
it
was
entitled
in the
nature of the child, the circumstances of his childhood
have
Clavaud,
and
Bresdin
of
friendship
ambience of Peyrelebade, the
admiraRedon's
than
significant
more
been emphasized because they seem
The
for Delacroix,
become human
eyes,
artists
Recognition was confined to a very small circle of avant-garde
des
Salon
the
at
exhibited
he
after
Belgium
in
and writers, especially
XX
in 1886.
Towards
began not
the end of the century a gradual transformation
in
exhibition
An
attitude.
his
in
but
acceptance,
and its
work
Durand-Ruel was followed by a larger one at Vollard in 1898.
symbolic of a severing with
In 1897 the haunting Peyrelebade was sold,
free Redon. There were no
to
seemed
first,
the past which, if painful at
about colour, light banished
apprehension
more 'noirs', enthusiasm replaced
where monsters had
blossomed
flowers,
shadow, flowers, portraits with
only
1894
in his
at
stood before.
The
first
years of the
Fames
new eentury. Perhaps the admiration of the young Nabis and
for
reached
he
as
in
pastels
1900
Matisse bought two
eneouraged him
between
bridge
perfect
a
was
new radiances of colour. Pastel as a medium
208
I
297.
REDON,
19! x 12!
in.
signed
REDOUTE
being confined to
oils.
separate the world of vision and emotion, so he wanted to give to the colour
seen the supreme and so pure beauty of the colour felt. In the Salon d' Automne
of 1905 five out of ten of his subjects were flowers, pastels and oils, and
only one exhibit recalled the themes of previous years. The years that
followed until the onset of
tentment
World War
left for
a love
As Giry has
written, disquieting
more
Redon.
\r?
He
hi/ ^
died in
his survival.
Some
ill.
c.
1905.
111.
297, a small
Whether Redon
branch
in
to the character of
how
sentation. Yet
1,
anemones and
and beyond
it.
field
flowers that
No
words have
reddish-brown paper.
better described the colour intensity of such flowers than those of Alain-
all
No
himself, one of the supremely literate artists, can better guide the beholder
of such pastels
come
to the
that of representation
itself,
REDOUTE,
Redoute
is
FRENCH
Pierre Joseph (1759-1841)
unquestionably the most widely known flower painter, his
celebrity spread by the countless prints after engraved works. His popularity
began
his
in
own
da>
when he became
298.
in
flower painting.
51
REDOX,
x 263
in.
signed
(130 x
679
cm.)
who were
had
in
at
lance artist, taking the opportunity to study the great masters, particularly
Van Huysum, on
botanist
U\
his journeys.
Icritier
When Redoute
met the
work
for
Redoute's
arrived in Paris he
his service.
to carry out a
at
his
home
at
20()
REDOUTE
have paid
more
exquisite
compliment
to a
Through
the mystery of
how
human hand
examine
over the leaves, the flower and the stem - truly miraculous and beyond
description.
The
and grace
the most exotic bloom.
extra delicacy
The
to the depiction of a
common
that
garden flower, as
to
is
stippled with
the point of a needle, thus allowing for far greater variety of tone and
modulation. Before each impression the colouring of the plate was com-
plete.
in
On
299.
REEKERS,
i7^x 14!
in.
China.
Although best-known
painted in
Directoire,
is
Redoute
also occasionally
An IV
of the
When Spaendonck
career, teaching
many
drawing
at
There he instructed
who were successful enough to have
In
Redoute
The
respect was
210
le
hoped
RENOIR
REEKERS,
Born
Hendrik (1815-1854)
dutch
Haarlem, Reekers was the pupil of his father and G. J. J. van Os.
From 1 84 1 to 1846 he was active at Brussels where he also worked in watercolour and made lithographs. He often included dead game in his flowerat
pieces, but
it
REINAGLE,
Philip (1749-1833)
British
Queen
various artists to
make
To
is
popular flowers,
like the
111.
left is
an elegant yellow
tulip,
some
the sensitive plant and the maggot-bearing stapelia, and the tactful inclusion
Queen
flat
bulb
is
fields
painted in
its
Queen Charlotte
appropriate setting;
is
in
an unlikely English
Ramsay, and
300.
\-,\
RK nag I. K,
I
signet
as a painter of landscapes
RENOIR,
l<
sixty-five years.
Of all the Impressionists Renoir was the most prolific flower painter
and throughout his figure compositions, flowers and fruit are enlivening
details. To Renoir flower painting came easily and he found in it not only
a relaxation but an opportunity to experiment more boldly than he would
have allowed himself with a figure subject (ill. 304). Naturally, flowers were
an ideal subject for the Impressionists, offering the brilliance and juxtaposition of so many colours and reflections. Inexpensive models that kept
still,
doors.
when
sunny and above all uncomand Monet. The artist's son, Jean Renoir, later
father saying, 'What seems to me most significant about our
They appealed
instinctively in their
211
RENOIR
movement [Impressionism]
is
that
we have
freed
from the
painting
Two
a sensation
Charles
in
flowerpieces, one
of 1864 in the Kunsthalle, Hamburg, and one of 1866 in the Fogg Art
Museum, Harvard University, are painted in the solidly strong Courbet
vein with strong impasto and use of palette knife, with blacks and greys
much
among
The
is
now
the thirty-three Renoirs which await the visitor to the Clark Institute,
Williamstown, Massachusetts.
If the rose, the
Renoir
most
and
collectors, the
chrysanthemum's
thin,
The
style of Renoir's
It
was
favourite
among
artists
chrysanthemums
Subject and light are fused together with an incandescent glow of colour
had been trapped within the painting and flows
back
at
palette:
212
the spectator.
white,
301.
RING,
25x32^
in.
ROBERT
RING,
A
dutch
Pieter de (1615-1660)
Lcyden. Most of
his life at
Heem,
Pieter de
De Heem
brilliance gives
way
manner of
to a certain
his
mechanical
hardness.
is
ROBBE,
\
Robbe
life
lived at Courtrai.
111.
Belgian
almost spans the nineteenth century, Henri
302
is a
in
302.
ROBBE
m I00 "3 x 788
39i x 3 1
cm.)
FRENCH
ROBERT, Nicolas (1614-1685)
Although less well-known than Redoute or Spaendonck, Nicolas Robert
plays an equally important role in the history of botanical illustration.
made
1640 when he
a series
is
known
in the
Madame
daughter
of
showing 'Zephyr
the sk>, gives
el let
some
/leurs\
falling
from
now
in a
commission
213
ROBERT
303.
ROBERT,
17! x 13
in.
signed
(44-8x33 cm.)
and which
in
real life
collection
214
made
lor Colbert,
now
in the
Osterreichische Nationalbibliothek,
304. (opposite)
2yl x 2\\
RENOIR,
in. (6o- 3
signed
x 54 cm.)
ImAfC
'
';:
:^mmmm''-^.^M
mmmm&*
ROESEN
is painted fully open v looking straight into the throat of the flower
and another drawing of a thistle has the same startling viewpoint.
Towards the end of his life, when Robert had a following of pupils like
Jean Joubert and Jacques Bailly, he published a series of drawings intended
for use as models by other artists. Among these were designs for frames
Vienna,
305. (opposite)
3o|x25|in.
RUYSCH,
(78-
ix
63-8 cm.)
to light.
Belgian
ROBIE, Jean Baptiste (1821-1910)
Born at Brussels, Robie spent the years from 1848 to 1875 m London,
where he exhibited at the Royal Academy. 111. 306 dates from his last year
in England and is an unusual composition of highly cultivated flowers,
hibiscus and roses predominant, in a woodland setting beside a lake. The
format may have been influenced by his stay in England. A painting signed
by Robie and dated 1869, sold at Parke-Bernet Inc., New York, in 1953,
was once the property of Diaz de la Peha. It is interesting that Diaz was
also a painter of woodland and forest.
ROEPEL,
Born
at
dutch
Coenraet (1678-1748)
306.
ROBIE,
321
E\en
is
a large
effect of so
a
American
1848-1871)
surch one of the most striking of American flower paintings.
and accurate colour reproduction cannot entire!) convey the
a technique successfully maintained over so large
meticulous
fled
from
his native
\e\\ York
Gty and
he was
at
the American
Williamsport,
centre of
in
\rt
in
Union,
still-life
in
until
Pennsylvania.
in
still
Germany
is
Pennsylvania's
in
capital
exhibit in
he exhibited
at
of his exhibits
the country
Philadelphia
town of
was
known.
in
Roesen's work,
in
must
outnumber flowerpicces
\mencan preference for fruits
\ct fruitpicccs
perhaps
ot
the
in
and possibK
more
'Victorian'
in
so popular.
more
feeling
307.
ROEPEL,
26^ x 20H
in.
217
ROESEN
from
W.
German
Preyer
J.
have learned
pieces referred to. Roesen must
in 1835, and
Holland
to
visit
a
on
masters
who studied the work of Dutch
thoroughly nineteenth-century interreturned to Germany to paint in a
pretation of
Roesen
Van Huysum, Ruysch and Van Os. Obviously,
in his
this
these influences. A measure of
turn developed a personal style from
treatment of the
be gauged in a detail such as the
independence might
How
different 1
Huysum and Van Os device.
bird's nest, a favourite Van
Below and s lightly to the right
Roesen's on the right in the colour plate.
see the artist s special signature
will
beneath the edge of the shelf the reader
like a linked
curled into the
is
made in loops of curling tendril. The S
monogram.
It recalls
little is
lifetime
and
took up his
style
308.
ROESTRATEN, signed
28^x24^
in. (72-1
x 62-2 cm.)
lengthy period.
ROESTRAETEN, Pieter
Gerritsz.
dutch
van (1630-1698)
Son-in-law and
Ufe and vitas amid'genre
finely
expertise, Chinese porcelain and
painting, with considerable
archaic
certain
has
a
work
Roestraeten's
worked gil? vases, as in ill. 308. Van
in
cam
of lively genre scene, Roestraeten
solemnity surprising in a painter
Lely
that
him
for
regard
the
an indication of
to England in 1665 and it is
of
known
is
Little
court.
the English
was hi sponsor in presenting him at
death in 1698.
activity in England before his
his
No
as Paret
details
was working
about him
Spanish
1765-1810)
in
active a
same name
are known but an artist of the
century
nineteenth
Retiro in the early
painted flower.
^
and breakfast-pieces but also
at Madrid
Fernando
San
de
Artes
Bellas
de
An example in the Academia
rock.
and shows a glass vase standing on a
is signed and dated 1796
New Jersey, has a glass vase resting on a
Ill
310, exhibited at Newark,
arrangement of the flowers shows how
rock in an open-air setting and the
French masters.
widespread was the influence of the
He
specialized in
still-life
DUTC "
.
painter, was
Albertsz. Rootius, a portrait
Jacob Rootius, the son of Jan
Heem. 111. 309, an excellent example,
one of the pupils of Jan Davidsz. de
21 8
309.
ROOTIUS,
37gx29i
in.
(95*75 cm.)
ROUAULT
310
ROMERO
1
in
(52-1
f>2
2 cm.)
De Heem's
style
also painted still-lifes. He is said to have ended his life by his own hand.
His father Jan Albertsz. also painted a few still-lifes and confusion arises
between their work in this genre.
ROUAULT,
The remark
Georges (1871-1958)
when invited
to Chagall,
French
to join in the decoration of a
church,
'you could do a bouquet that will also be religious', lends itself most profoundly to the rare flowerpieces of Rouault. Trained in the medieval
craft of
to revive
uncon-
Not of
219
ROUALLT
my
of
emotions', he said
of
The
art.
a familiar
among
enough remark
whose mountings
Gustave
Moreau. exhibited with the Fauves, but stands strictly apart from any classification, a rebel through sympathy and satire, rather than revolt and violence.
his
(ill.
His clowns represent his own sadness at the tragedy of the prostitutes and
beggars that he so often painted. His anger at a society whose decadent
injustices made these unfortunates produced his satires of lawyers and the
bloated figures of authority, satires whose savagery is unmatched even in
own
our
ROUERS,
111.
312
is
Rembrandt of
The
dutch
artist's
and Helena Rouers was clearly influenced by such artists as Marrel and the younger Bosschaerts. Such
commentary does not detract from the merits of this little-known flower
painter who is not even entered in several of the standard reference books.
work.
311.
ROUAULT, signed
28 x 23
in. (71-2
x 585 cm.)
ROUSSEAU,
French
Henri-Julien Le Douanier' (1844-1910)
said that the Douanier Rousseau's work is tremendously
fashionable today. Understanding not fashion has brought about the present
regard for the work of this intriguing painter, partly through what has
It is
commonly
happened since
is
genres, are
now
examples of
his
highly prized.
220
312
ROUERS,
2l}xi8
55-5
|6 cm.)
ROUSSEAU
313.
2 3t
314.
(left)
any
its
own appearance,
(59'7 x 47 6 cm.)
-
ROUSSEAU,
22^ x 15I
rejected on
ROUSSEAU,
Hm
in. (58-1
Philippe, signed
x 40 cm.)
of his canvases,
at
is
clear.
221
ROUSSEAU
London, with
its
The example
Tate Gallery,
in the
dated 1909,
is
in the Albright
New
York.
French
known
He
is
principally
spirit
The same feeling for the medium and the intimate nature
shown in ill. 314, a composition of spring-flowering bulbs.
are shown against a brownish-gold coloured background, which
Modeles\
et ses
of his work
The
plants
is
good
effect.
ROYEX, Willem
Born
315.
ROYEX.
I7|x 14
in.
signed
(44-8x35-6 cm.)
at
RUOPPOLO,
Italian
For Ruoppolo flowers are but one element in a composite still-life. Vegetables, fruit, fish, vases, shells and game all play equal roles. 111. 316 from
the Ashmolean, Oxford, is characteristic for it shows hydrangeas in company with peas, celery, and asparagus. A stone balustrade in the background
is barely visible. This is an early work, signed and dateable to c. 1650, and
it
lighting that
is
this
fruit
Capodimonte
at
RUYSCH, Anna
Little
is
is
feet
high
in the
Museo
e Gallerie Nazionali di
Naples.
known of
Elizabeth
(c.
dutch
1680-1741)
ill.
317,
is
a direct
copy
it
after
ill.
RUYSCH,
316
RUOPPOLO, signed
in
222
One
(106x84 cm
considerable
museums
dutch
is
not in-
of some works
RUYSCH
317. (above)
RUYSCH,
254 x 17}
(65x44-5 cm.)
in.
318. (right)
2 9$
2 3s
'
RUYSCH,
Anna
Elizabeth, signed
Rachel, signed
So
were
own
time.
sex.
Her
at
father Frederik
1745.
The superb
work of
happy
life
how
223
RUYSCH
portraitist
his wife
this windfall.
305 has the play of curving stems that she used so skilfully - particularly
Metropolitan Museum of Art, New York. The
flowers and blossom are varied and choice, and the perfection of her soft
merely
319.
RUYSCH,
i2| x 105
in. (32-
Rachel
1 x 26 cm.)
laid in
They
stand together
at the
painting.
SAINT-JEAN, Simon
A
320. (opposite)
i2;> in.
(44
321. (overleaf)
40 x 50$
224
in.
SEGHERS,
1
/ji
signed
and studied
at
French
(1808-1860)
ROESEN,
signed
Lyons
cm.)
at
silk factory.
Todaj he
is
an almost
unknown
artist,
accused
v^J
*>
Hi
<**
vJr
WMB
^r
SAVERY
Although
ill.
323
is
to suggest allegories
Madonna,
in his paintings;
Musee
in the
hence a
in the
and pupils.
SAVERY,
Born
Roelandt (1576-1639)
Courtrai in Flanders, Savery
at
dutch
Holland under the care of
left for
323.
SAINT-JEAN,
35|x
2 8l in.
322. (opposite)
SPAENDONCK,
x 7
in.
signed
(89*5x72-4011.)
7H5
(117x91 cm.)
S
W \R\
(24 X 18 cm.)
United Provinces, as Holland was then called, often qualifies them for
listing under both the Flemish and Dutch schools. In 1604 Roelandt
Savery was summoned to Prague to the court of that collector extraordinary,
Emperor Rudolf II, grandson of Charles V. So began for Savery fifteen
years of travel and work in the Tyrol, Prague, Vienna, Munich, and Salzburg
in the service of Rudolf and later his brother Matthias, and doubtless others.
During these years he made occasional return visits to Holland and finally
entered the Utrecht Guild in 16 19, the year Ambrosius Bosschaert the
Elder (see p. 54) left that city for Breda. Savery appears to have settled
in Utrecht for the remaining twenty years of his life, forming a close friendship with Ambrosius Bosschaert the Younger at whose wedding in 1634
he was best man. Unlike his contemporaries, Bosschaert and Brueghel,
far from being the founder of a family of artists and followers Savery died
a poor bachelor without pupils.
The majority of Roelandt Savery's work consists of Tyrolean mountain
landscapes with soldiers, forest scenes with Orpheus calling countless
creatures,
tend to
fill
The
in its
the Centraal
at least
a flowerpiece
vitality.
one
lizard,
thoroughly
None of Jacques
latter's earliest
in a
New
Museum, Utrecht -
their 'lighting'.
is
profusion and
now known
without
is
result
111.
2,
York
until 1637
161
1,
Bosschaert.
After
settling
in
Utrecht,
and
at that
which occurs in several panels, for example the 1620 panel in the Victoria
and Albert Museum, London. If as seems likely the artist used verdigris
for his brilliant greens in foliage, this pigment has deteriorated into a darker,
browner colour making the light colours of the blooms stand out even
more starkly than the artist could have intended.
Illustrations of paintings are deceptive unless an effort is made to imagine
229
SAVERY
pieces.
111.
chosen to present a
gift
of his
own
Ik
fc-
L'
v #*m
latter is
.*.
if
Jm
Savery was
summarized from
unique large-scale panel. A tall, slender bouquet in a niche given
volume by dark, warm, fuzzy, purply shadows against which the soft, pale
colours of the blooms stand out strongly with a plethora of spiky foliage
surrounding. Although the bouquet is topped by a crown imperial the
characteristic roses, irises and tulips predominate. The typical wealth of
insects and lizards - this symbolism of the vanitas is mentioned in the
Introduction - is this time augmented by birds.
Rudolf kept one of the finest zoological gardens of the age and Savery
benefited in all his paintings from his studies there. Savery drew for Rudolf
the now extinct dodo. And although the author has not seen a parrot eating
a frog, the attack in progress looks so convincing that Savery must have
observed such things at first hand. One cannot resist the opportunity to
quote Professor Bergstrom on the other spectator frog who 'watches with
a melancholy expression as though it were considering the prospect of a
All the characteristics of Savery's flowerpieces can be
his
similar fate'.
Scientific exactitude
is
effect,
Italian
SCACCIATI, Andrea (1642-1710)
Contemporary sources say that Scacciati was the pupil of Mario Balassi
and Lorenzo Lippi at Florence. He was highly thought of by the Medici
family and also had many commissions from English collectors. The
Medici Grand Duke Cosimo III took a special delight in the scientific study
of natural things and Scacciati certainly worked for him. In 1702 he also
made tapestry designs for the same family. 111. 327 is one of a pair of flower
paintings by Andrea Scacciati, the other canvas being signed and dated
1678. It is worth comparing Scacciati's paintings with the work of the
Netherlandish painters Withoos and Marseus van Schriek. The latter was
engaged by Grand Duke Cosimo in 1656 and the Italian artist must have
encountered his works.
German
lasting
friendship
flowerpiece to
with
Madame
230
1
j
'
1
,
/,-.
Wpil
**.i
Er
L
it
^yy^^v
,>/:
1
s''.-
y
'-C^!
SCHOUMAN
22 x 16^
(56 x
in.
10 in.
329. (right)
39j x 3 1 J
328. (bottom)
i6jx
SCHOLDERER.
408 cm.
SCACCIATI,
327. (below)
3ofx 55 m.
(!3 x 80 cm.)
SCHOUMAN
SCHOOK.
in.
(99-7 x
signed
806 cm.)
most of
The
The
his
irises, ill. 326, dates from 1894 and was painted in England.
blurred effect of the blooms is very reminiscent of his friend Fantin-
vase of
SCHOOK,
is
generally
less
atmospheric
more 'modern'
effect
in feeling.
Hendrik (1630-1707)
dutch
Schook was an Utrecht painter who closely followed the style of Mignon's
larger canvases. 111. 329 is a good example with the large poppy at the top,
a favourite note of the artist, seen again in a similar example formerly
with the Leger Galleries, London, reproduced in colour in Floral Art by
S. H. Paviere. Schook also imitated Mignon's still-lifes in picturesque
landscapes, as seen in the Nationalmuseet, Copenhagen, and his fruit and
flower swags.
at
principally
W\
known
by
his
%*
dutch
Dordrecht and the pupil of Adriaan van den Burg, Aart Schouman
at
the
231
SCHOUMAN
SCHRIEK,
However
many
them
to seize a butterfly,
is
in
Sniffer,
entirely typical.
Schriek's biography
worked
111.
is
France where
his
330.
SCHRIEK,
23^x
19 in. (59-
signed
ix 483 cm.)
111.
28 of
66 1
standing quality.
is
The
lizard,
bearing
down on
would make
this
if
Such flower-
shelf.
SCHUCH,
Karl (1846-1903)
Karl Schuch was born at Vienna, but
studied at
Munich under
Leibl.
He
then
moved
Austrian
in his early twenties
From
to Paris
he
left
and
visited Italy,
Venice, painting
at
where he married
Frenchwoman and
ill
SEGHERS,
331.
SCHUCH,
232
signed
(K6x 70
FLEMISH
Daniel (1590-1661)
cm.)
refuge
in the
north. Unlike
to stay.
Born
at
Antwerp
SEGHERS
of Jan 'Velvet' Brueghel (see p. 63) who was also responsible for his conversion back to Catholicism. Unknowingly Brueghel rendered an inestimable
service to the forces of the
his protege
was
destined to join the elite of these forces, the Jesuits, and to devote to their
vows
his final
in 1625.
establishments in Malines,
remainder of his
life.
Seghers devoted himself to his studies and to his work with the single-
Of
the
many contemporary
332.
SEGHERS
37 x 2 7t i n (94 * 7
-
cm
it
Prince Frederick Henry, which found the happiest phrase, calling Seghers
The
el la fleur
des peintrcs\
often a
Madonna and
which had
a religious
fall
image, most
artist.
With few
as well as
artist
Famous
Heem
(see p. 133).
333 S KG HERS
38^x28^
in.
(98-7x73-4 cm.)
233
SEGHERS
apply to
all
These character-
of Seghers' bouquets.
In the
and
less
elegant;
at
the
Staatliche
is
independent
in his
garlands as in his
a fluid stroke
It is
among
334.
SEIGNEMARTIN,
18^ x 14!
in.
(46 x
i6jX \2\
in. (41
9 x
left)
SEITZ, Georg
German
(1810-1870)
SILLETT, James
British
(1764-1840)
Norwich, James Sillett chose to abandon his apprenticeship as a
sign painter and left to study at the Royal Academy in London. He returned
to Last Anglia on his marriage in 1801 and after a few years in King's Lynn,
where he made topographical studies, he returned to Norwich, becoming
Born
at
Norwich Society
in 1815.
human
his preference
figure, rather
than pigstyes and cart sheds'. Between the years 1796 and 1827 Sillett
exhibited a number of still-life and flowerpieces at the Royal Academy.
2.U
335.
SEITZ,
15! x
signed
1 in. (40
SILLETT,
311 cm.)
Born
378 cm.)
x 30 cm.)
SNABILLE
337. (right)
44^x45!
SNYDERS
in.
i*t
<
The
early
a botanical study.
SMITH, Matthew
The
vase of
lilies,
(1879-1959)
seen in ill. 338, took
British
Matthew Smith
study
suaded
in
art.
him
to study painting at
Aven
in Brittany,
artist
lilies,
The canvas
London group of
was the
1 9 16.
first
His
rounded
that
later
Smith exhibited
flowerpieces and
in
still-lifes
work
at
Leeds.
SNABILLE, Maria
dutch
Geertruida (1776-1838)
Wurzburg, Maria Snabille moved to Holland where she married
Dutch painter, Picter Barbiers. Only one flowerpiece is known to the
Born
a
338.
30 X 22
v'>
present writer,
SMITH, signed
in. {-jfyi
at
cm.)
ill.
235
SNYDERS
SNYDERS,
Frans (1579-1657)
flemish
111.
337
is
typical of
SNYERS,
Pieter (1681-1752)
flemish
Antwerp, Pieter Snyers was a guild member by the mid- 1690s,
rose to be master of the guild in 1708, and director of the Royal Academy
at Antwerp in 1641. Snyers possessed an important collection of paintings
and worked in other genres.
The catalogue of the Ward Collection mentions that he worked at Brussels
and London, details which are not referred to in the National Gallery,
London, catalogue. The London example is a crowded accumulation of
fruit and vegetables, with dead chickens, and a lobster as a fish course. 111.
342 is a very casual but pleasing medley of fruit and flowers surrounding a
Born
at
in the centre
SXABILLE,
the
Brussels,
ill.
465 cm.)
is
whereabouts
unfortunately un-
flemish
(1623-1667)
Antwerp, Joris van Son joined the Academy there in 1643. He was
principally a still-life painter working in the manner of De Heem, but he
occasionally introduced a bouquet into his still-lifes. 111. 343 is one such
example. The restraint and simplicity of choice of flowers inevitably recalls
Seghers, and indeed several garlands now ascribed to Van Son were once
Born
at
attributed to him.
SOREAU,
It is
German
thanks to the recent study (1962) of Gerhard Bott that the work of
Born at Hanau, Isaak was the son of Daniel
Soreau and twin brother of Peter Soreau. The father of Daniel Soreau
had originally come from Antwerp. Nothing now survives of the work
of Daniel, but his role as a teacher at Hanau was important. Numbered
among his pupils, apart from his sons, were Binoit and Stosskopf and
his style must have influenced Van Hulsdonck. Isaak's death date is
unknown.
Isaak's only signed and dated work is of 1638 in the Staatliches Museum
Schwerin, which is without a flower bouquet. Capital I was interchangeable
with J at the period, and the signature of the Schwerin painting was mistaken for Jan Soreau, an elder brother who died in 1626. According to Bott
the whole oeuvre, which has always been based on this one signed example,
should be given to Isaak and there are therefore no certain works by Jan,
at
340. (opposite)
V ALLAYER-COSTER,
236
(40x32 cm.)
signed
ill.
260.
The same
1
t
^mhf "-ifl
^iv
-'
j
fc
-.
-.
-^^^
.i
SOUTINE
341. (opposite)
20^ x i6|
in.
VERELST,
Simon
(51-4x42*5 cm.)
Pietersz., signed
basket, faience bowls and plates contain grapes, nectarines and plums,
standing on a pale pine shelf the graining of which is minutely detailed.
The majority of his works also have to one side a similar small glass of
flowers.
and the
SOUTINE, Chaim
Russian
(1894-1943)
In 1934 Maurice Sachs wrote, 'the two times I saw Soutine, I was moved
by his soft, wild gaze ... he was noble and at the same time had the
hunted air of some proud, solitary animal horrified by the footsteps of
man, but never sacrificing the secret laws or pride of its race ... I found
in his canvases a terrible, involuntary distortion, undergone in fear and
trembling, that all his efforts aimed at taming.'
These observation's were made of the later period of Soutine's work,
but they seem a perfect analysis of his art and lend themselves equally
forcefully to his gladioli, ill. 344, of about 1919. Flower paintings are so
often objective, reposeful and comforting that isome attempt "has been
made to include here the most expressionistic, passionate artists, whose
intensity is totally subjective, electrifying and disturbing. The flowers of
Nolde, Kokoschka, Vlaminck and the Fauves seem almost dull compared
to Soutine's. Those of his fellow Russian, Chagall - who was already
established at Paris when Soutine arrived - are in their enchantment quite
different again from Soutine's.
Looking at the work of this son of a lowly clothes mender from a Lithuanian
ghetto, one can believe the story that Soutine once, in the creative frenzy
of painting passion, dislocated his
34a
SNYERS,
22\ x 19
in.
thumb snatching
at his fistful
necessarily paint directly onto the canvas, torrentially and without any
nor
at
Soutine derive
is
much
SON
143
}0 X ]H in
(~(y z
X 96-6
of brushes.
Recently some evidence has come to light to suggest that Soutine did not
signed
'
made him
more
reflective artist
Van Gogh,
his self-
from his canvases or his wildly, unstable life. Soutine was, with his friend
and champion Modigliani, the most socially isolated of the artists of the
School of Paris. When he wanted to paint his versions of Rembrandt's
'Carcass of Meat' in the Louvre - a painting which fascinated artists as
divergent as Delacroix and the American Chase - he had the model
delivered straight from the slaughterhouse. Its deterioration over the
ensuing days eventually led the neighbours to send for the police, but
Soutine finished the picture. His isolation and self-doubts were, of course,
innate and incidents like this bothered others but not the' painter. Sperber
wrote, 'Soutine was the lone night traveller who meets only the dead
Rembrandt, Goya, and Van Gogh.'
Soutine's career emphasizes the international nature of the so-called
School of Paris. Soutine, a Russian Jew, befriended by Modigliani, an
aristocratic Italian, was helped by a Frenchman, Paul Guillaume and a
239
SOUTINE
344.
(left)
25i x 17I
SOUTINE,
in-
345. (below)
(64
x44
signed
cm.)
SPAENDONCK,
31^x25
Dr
Barnes.
It
is
first
acclaimed by an American,
240
in.
(80x63-5 cm.)
SPAENDONCK
dutch
at
Tilburg
in
perhaps
Huysum, but
in
some
346.
respects
when
Gerard was received into the Academy, deemed his exhibit 'of the greatest
beauty'. Fame never deserted Spaendonck who was perhaps the most
accomplished painter of flowers in all mediums, oil, gouache, and watercolour; and clearl) possessed the gifts to be a good teacher whose pupils
perpetuated his style
nineteenth century.
in
a series
of twenty-
111.
was the traditional medium for the scries. Yet at the same time Spaendonck
was experimenting very successfully with conventional watercolour. Blunt
considers Spaendonck's work in watercolour to be the equal of Redoute,
who became the first artist to use pure watercolour in the Veltns. Redoute,
to whom Spaendonck gave instruction and every encouragement, 'reaped
the harvest of fame sown b\ Spaendonck' in the words of Blunt.
347.
SPAENDONCK,
305x23!
in.
241
SPAENDONCK
The
and the
outside ot France,
nitude.
The
it is
situation
difficult to cite a
is
museum example
of the
Indeed.
first
_
-
SPELT,
:>t
in.
mag-
and the difficulties of attribution of canvases, like that in the Musee des
Beaux- Arts at Tours, which emphasize the variety of qualin under discussion. At his best Spaendonck merits the praise of contemporary critics.
and he equals in oil his achievements in other mediums. 111. 347. from the
-
The
pale bluey-green
poppy
the poppy. From the brilliance of this red, the artist leads us through
the subtleties of the colour to the very palest pink rose; where the rose
.
the
one sees
a tracery
\ an
242
pposite)
12 x 10 in.
STANNARD.
(305 x 25 4 cm.)
SPAENDONCK
243
SPAENDONCK
of every detail
with blues in the foliage, and the breathtaking refinement
Spaendonck.
van
Gerard
for
entry
this
must justify the opening sentence of
dutch
as a celebrated flower painter
is no reason
from Gouda, vet today few paintings by him are known. There
of court
position
the
won
Spelt
to doubt the validity of this reference as
Brandenburg,
of
Prince
painter at Berlin andpainted a portrait of the Crown
is illustrated
surrounded bv a garland of flowers. A finely painted bouquet
ill.
is
Spelt
Van der
348, an imin Bol, but the most interesting work by
in still-life
device
old
an
pressive panel of 1658. The unusual curtain was
De Heem.
of
example
backgrounds, and the garland may derive from the
British
daughter of
A generation vounger than Emily, her aunt, Eloise was the
a frail girl,
been
to have
\lfred Stannard, Joseph's brother. She appears
Victorian
with
happened
for at home by her mother, but as so often
cared
350.
23t x i7i
in
dated 1855
British
Coppin, a painter
Born at Norwich, Emilv was the daughter of Daniel
Norwich Society.
the
of
President
became
and friend of John Crome, who
an award
winning
after
then
and
painting with her father
Emilv studied
After his
name who
STERN, Ludovico
Italian
(1709-1777)
from Bavaria who settled at Rome about 1700,
painter
a
The son of
known
Ludovico Stern learned painting from his father and was principally
may
which
paintings, an example of
for his religious paintings. His flower
of the work ol
be seen in ill 352, are quite rare. Dated 1757 it is reminiscent
exhibited at Naples
Nu/zi, a hundred years earlier. A pair of simpler vases
in 1964 were once in fact attributed to Nuzzi.
STOLL, Leopold
(active 1828-1869)
German
Like
both.
the sky, and sweet peas figure prominently in
244
351.
STOLL,
28x22
in.
23x31
in.
(585 x80
STERN,
cm.)
STOSSKOPF
STOSSKOPF,
Sebastian (1597-1657)
French
Strasbourg, Stosskopf was at first the pupil of a miniaturist and
engraver, Friedrich Brentel. In 1615 he joined the flourishing workshop
Born
at
of Daniel Soreau
at
Hanau near
Frankfurt, in
company with
the older
his
'
STUVEN,
Born
at
German
Ernst (1657-1712)
the pupil of
Amsterdam
rather
1670s.
flat foliage.
245
SWEERTS
SWEERTS, Jeronimus
354. (above)
STUVEN,
403X 325
(102-9 x
in.
x i6
in.
(38
signed
832 cm.)
SWEERTS,
x43
cm.)
dutch
(1603-1636)
How
however, visible
at present.
(see
ill.
40). It
is
not,
and somewhat eccentric lady owner of the panel who took strong exception
to this parrot, it was carefully painted out and could as easily be reinstated
by cleaning away this retouching. Without necessarily taking sides, the
parrot added little to the composition and its strident red does clash with
the tulips. However trite this detail may seem to the layman, it is hoped
that the publication of this startling information will prevent further expert
speculations about the fate of what Bol has called 'this fugitive bird'.
is still
Tamm
Rome
germw
Born
at
went
to
in
1^73. At
and
1
VMM,
dated 172
i<)2 '
24(1
74 cm.)
is
In about 1700
He
also
Tamm
worked
was called
to
LPPINK
him
in Passau,
and he died
at
Vienna
in 1724.
Tamm
was an all-rounder,
Tamm
example
could belong to
Tamm's
THIELEN, Jan
the
The
among
so
many
followers of
Seghers
Van Thielen
is
closest to Seghers
interesting
because
approach to
different
and the
treer
stalks
at
finish
painted
clearly
in.
signed
(32-5x24-2 cm.)
at his most
most individual. Apart from the obviously
the background, Van Thielen's handling is much
correspondingly broader.
x 9!
12!
his
still
The way
he has flicked
in the
is
THIELEN",
357.
Van
to
kc\ written on a piece ot paper in front of the vase. In the smaller bouquets,
as illustrated
and
Musec
as at the
Van Thielen
is
camellia.
TOL'RMKR, Jean
Bom
in
exhibiting
home
in
Usace and.
Mulhousc.
to
lactones
at
vase
is
in a
FRENCH
L'lrich (1802-1865)
Tournier studied in Paris with the Spaendonck brothers,
the Pans Salons between 1821 and 1833. In 1828 he went
\lsace,
preserved
like
\
in
Benner-Fries, he
tine watercolour
the
Musec de
I'
made
ot roses,
358 is a rarer flowerpiece in oils, signed and dated 1821, the piled-up
bouquet recalling the st\le ot his teachers Perhaps this canvas was one of
Tournicr's earl} Salon exhibits.
111.
LPPINK, Hermanns
Hermanns
(1753-1798)
ppink was the elder brother
DUTCH
ot the portrait painter,
Willem
Lppink, and both worked at \mstcrdam. III. 359, signed and dated 1789,
the Rijksmuscum, Amsterdam, has the profuse bouquet and classical
architecture in the parkland background familiar in the work of more
358.
important
26
in
TOURNIER,
-
22
in.
(67 x 56 cm.)
247
VALLAYER-COSTER
French
is,
Coster. It is not modern judgment alone which assesses their work as the
equal of any man's, but the opinion of their contemporaries - a much more
significant tribute.
means
ability.
her father died and her two sisters soon married; after this break-up of
the family
By 1775
Anne
in a still-life.
Three years
first
later
of Marie Antoinette; in 1780-81 she was lodged in the Louvre with the
appointment of painter
parlement,
359.
UPPINK,
284 x 23I
in. (72- 5
to the
J. P. Silvestre
seventy-three.
Anne
critic
shadow of the
great
man. This
is
still-life
paintings are sufficiently close to Chardin to have been mistaken for his
work. She should, in fairness, be judged by her most original work - her
flowerpieces.
On three occasions between 1779 and 1783 critics wrote that her flowers
could not be surpassed by Gerard van Spaendonck. This was an empty
comparison. Their work is completely different and there could have been
360.
VALLAYER-COSTER
165 x 2o|
in.
(43 x 52 cm.)
no conscious rivalry. Indeed it says much for the strength of her personality
that Anne was unaffected by the masters who came to Paris from the
north, such as Spaendonck, his pupil Redoute, Yan Dael, and Yan Os.
111. 340 is a perfect example from the 1780s. The refinement of the palette
and delicacy of touch are typical of French painting in the eighteenth
century. Pale, soft tints are used, not in the
centurv Dutch
handling
is
artificial
next century. In over a hundred such bouquets she maintained an enviably consistent quality of execution and inventiveness of
to
Manet
in the
presentation.
360 shows one of her rare oil sketches on paper, mounted on canvas,
painted no doubt for her own instruction and satisfaction. Nothing could
more clearly indicate her devotion to the favourite flower of the age and
111.
111.
361
born
248
at
is
a rare signed
(</.
DUTCH
1657)
is
unknown
but he died
in
1657. In
VERELST
1639 he was in The Hague Guild, and later in the Pictura Society. This
is undated but stylistically could be placed in the 1630s. The
artist may well be related to Adriaen van de Venne (1589- 1662), a landscape
and genre painter who lived at Middelburg from 1614 to 1625.
small panel
VERBRUGGEX,
Of the
six
Verbruggen had an
of six pupils including Frans Casteels and Galle. This early success,
however, was short-lived and during the second half of his life Verbruggen
atelier
He
The
vase of flowers
is
set
362 has
high upon
111.
is
to Italv,
VERELST,
is
361.
VENNE,
9^x 8^
in.
(25
signed
x 21 cm.)
VERELST, Simon
dutch
Seven members of the Verelst family of painters are listed and span just
over a century. Some are obscure, one is important - Simon. Born at The
Hague, Simon Verelst probably qualified in his local guild before moving
to England in 1669. His brother Herman and Herman's son, Cornelis,
accompanied him to this country.
The patronage of the second Duke of Buckingham, allied to Verelst's
own skills, won a tremendous acclaim in Restoration London. His elegance
and delicacy perfectly appealed to the 'Frenchified' taste of the day. Louise
de Kcrouallc, Duchess ot Portsmouth, was Charles II's mistress at the
time and what was French, whether political interest or painting, received
her immediate and continuing support. Verelst probably visited Paris in
1680. I ler patronage ensured the sustained success of Verelst, even when he
turned to portrait painting at the Duke's suggestion. His best-known
portrait is ot Charles II, exhibited at the Charles II Exhibition, at the Royal
Academy in i960. Not surprisingly his female portraits were often embellish-
ed with flowers.
He began
styling himself
still
in
'God
an asylum.
London.
Verelst's style stems from Van Aelst (see p. 33), but that generalization
having been made, it would be misleading to think of Verelst as other than
a very individual and accomplished painter. Although in present-day
362.
VERBRUGGEN,
44^ x 31
in. (1
13 x
signed
788 cm.)
240
ERELST
-^.
t
4.
^^ii
/
ft Mm
vlff
*#TGI
a
ysi..^H- Hi^K^
ft
>-*fc
]t
'
!
*
w
&
>0
fSkSfl
VERELST,
363. (above)
21^ x i8
in.
in.
VERENDAEL,
T"
signed
(44-4x63-5 cm.)
X>^
tV<r
judgment he must be counted second to the great masters, no such comparisons were available to Londoners at the period. His impact was therefore sensational. Samuel Pepys wrote in 1669, the latest year of his famous
Diary, of his coming across Verelst: '.
one Everest [sic] who took us to
his lodging nearby and did show us a little flowerpot of his drawing, the
finest thing, I ever, I think, saw in my life, the drops of dew hanging on
the leaves so I was forced again and again to put my finger to it to feel
whether my eyes were deceived or no. He do ask 70., for it; I had the vanity
to bid him 20. But a better picture I never saw in my whole life and it is
worth going twenty miles to see it'.
111. 341 shows the rose, the poppy and the tulip, Verelst's favourite flowers.
Each bloom is well treated and the bouquet convincingly contained in the
glass bottle which he used for so many flowerpieces. His compositions are
often diagonal or asymmetric, with sophisticated rhythms set up in foliage
and stems. Strong chiaroscuro lighting is used against a warm, dark background. All this is commonplace in the period. What most appeals is
Verelst's painterly brushwork with quite a buttery impasto in parts: for
example, the two reflections on the bottle, or the way the greeny-grey
leaves are treated near the pink rose. Yet Verelst can work up details, glaze,
and combine breadth with delicacy of touch and palette. He was inconsistent
in signing his paintings. Some excellent examples are unsigned, others,
.
171x25
Cornells
HE
as in
111.
ill.
No
VERENDAEL,
In a
way
flemish
who
has
arrangement
as
far
as
Verendael.
365.
13JX
2^0
VERELST,
11
in.
Simon
Horn
Fitters/., signed
(34*9 X 28 cm.)
to
such
at
effect that
VERENDAEL
367.
VIDAL,
20 x 16
he was
and died
master of his
in his
native
art.
is
it
signed
366. (left)
VERENDAEL,
2o|x 15^
in. (52-
ix 394 cm.)
the Metropolitan
Verendael married
Antwerp
in.
in 1690.
One
Museum
of Art example,
daughter in 1669
surprising fact is recorded in
a sculptor's
a steady
skill
may
lie in
some personal
folly or speculation
the texture of his roses and hibiscus leaves, particularly the white ones.
The
petals are like the thinnest tissue paper, finely crinkled, yet to
employ
251
VERENDAEL
the word paper is inadequate a fine chiffon silk would perhaps be a fairer
guide to the extraordinary, fragile beauty of these whites. Yerendael
usually favoured a fine glass vase set centrally on a stone ledge, often with
:
The orange
111.
absence of a tulip
dael,
a fairly
366 is a canvas of roughly 20^ x 15^ inches, a size much used by Yerenand has his favourite white hibiscus, tinged with deepest crimson in the
and
unusual.
is
Museum
collection.
Low
The same
as
ill.
366 which
is
more
enthusiastic
England and France, particularly in the eighteenth century. 111. 366 comes
from Xostell Priory, one of Yorkshire's eighteenth-century stately homes,
completed by Robert Adam. Much of the furniture was the work of Thomas
Chippendale, who also made the frame for ill. 366.
Yerendael also painted swags and garlands in the fashion created by
Seghers, with various centrepieces. 111. 364 is from the collection of the
Yictoria and Albert Museum, London, but is currently hanging at another
famous house, Osterley House, Isleworth. Clearly the canvas has at some
time been cut down, as can be seen from the bottom of a stone frame in
the background and the ear of wheat trailing into the picture from above.
The removal of a portrait is not so drastic as it may sound, for it is the
flowers alone which interest most onlookers and owners. Their quality is
368.
VL AMI NCK,
signed
excellent,
number of monkey
with
a large skull
Munich, canvas,
problem of what Yerendael contributed to this work.
De Heem's name must be coupled with Seghers in Yerendael's formation.
the presence of his signature on the Alte Pinakothek,
ill.
YIDAL, Louis
The
(Y.
French
1754-after 1805)
is
unknown.
It
was born at Marseilles, but his activity at Lille and the presence of his
works in the Musee des Beaux-Arts there seems to indicate a northern
artist. Between 1790 and 1792 Yidal was working in England, with four
exhibits at the Royal Academy. 111. 367, which is signed, is painted on
copper, unusual at the period, with the blues of the love-in-a-mist echoed
in the violets at the
frem
11
of Maurice
369.
IX;
I.
2^2
cm.)
in the
died
politically
when Ylaminck
was hardly born. Ylaminck shared Henry Ford's opinion that 'Historj is
bunk'. Discussion and book learning he despised, which was convenient
because his career as a professional Cycle racer and cafe violinist leit little
enough time for painting. His friendship with Derain a notable instance
of the attraction of opposites
began
at
when
the)
37. (above) \
25^ x 2cA
in.
right) \
17J in
OET.
(648 x
OLLON,
154
cm.
signed
45 cm.)
dim the
in a
long
cannot
life,
YLIEGER,
Eltie
down
to the signature.
dutch
de (active 1634-1651)
369, elaborately signed and dated 165 1, is one of the three or four known
examples of Eltie de Ylieger, sister of the well-known marine painter,
111.
Simon de
Staatliche
seems related
VOET,
Born
3**
/ 2<in
tm
at
to Elliger
and Lachtropius.
dutch
at
The Hague
in
1692.
whom
he
253
VOET
VOGELAER,
Born
at
having been
in
dutch
many roaming Dutchmen who,
1695. In Italy he
was known
111.
372
is
Rome
in
a large canvas
style and texture suggest that it was painted in Italy. A similar vase
appeared in an example with landscape background at Christie's in 1964.
The example illustrated is one of a signed pair which must rank among the
artist's best work. Vogelaer added fruit and vegetables to his flowers as
in an example at the Galleria Borghese, Rome.
whose
VOLLON,
The
Antoine (1833-1900)
French
dutch
1717-1765)
Middelburg, Jacob Vonck is said to have been a pupil of the
slightly younger Schouman, the bird painter, Indeed birds are a favourite
motif with Vonck and occur in most of his paintings. 111. 373 is one of a
pair, signed and dated 1760. The large ewer around which roses, convolvulus, mallows and poppies are entwined, is another typical feature.
There is another pair of paintings of the same size and date in a well-known
private English collection, and the four may have originally formed a set.
The bubbles blown by a pipe from the depths of the nautilus shell are a
Born
373.
VONCK,
33 X 26
in.
(83-9 x 66-
at
delightful detail.
century,
cm.)
Among
Vonck appears
the
many Dutch
rather superior.
VOSMAER, Jacob
Born
at Delft,
Woutersz. (1584-1641)
Vosmaer became a guild official
dutch
there in 1633.
He made
journey to
them
Italy,
in colour.
The
earliest is
ill.
1618,
is
in
Dr
at
The
374 (opposite) \ IK
in. (.W4 x
15$ x 11
I
^A
ENDA1
2<>
in
L
)
Mannerist mouvemente
effect
is
VOSMAER
375. (opposite)
23+ x 18J
376. (right)
WALSCAPPELLE,
signed
in.
VOSMAER,
33z x 2 4l in (85-
x 625 cm.)
The
ill.
of this painting.
comparison with
return
377
4<>
in
124 X
t)()
ni
So
De Gheyn
II
(ill.
little is
157)
that there
may be many
factors to
257
WAIN WRIGHT
Austrian
Born at
art.
Vienna, Waldmtiller
111.
and the satin ribbon are painted in extreme detail. In the same way, each
flower is painted individually, each lit by a hard, glittering light and set
against a very dark background.
378.
22J x i8
in.
1848
(58 x 46 cm.)
WALSCAPPELLE, Jacob
dutch
(1644-1727)
Born at Dordrecht under the name Jacob Cruydenier, the artist adopted
the surname Walscappelle after a great-grandfather. He has led historians
rather a dance by being uncertain how to spell this lilting surname, signing
himself with several variations and occasionally adding 'van'. In 1660 his
married the cosmopolitan Elliger (see
sister
p.
den Broeck
dated painting
duced
Amsterdam and
posts in
is
to
an unusual vanitas
still-life
long
life
but
These
how
go some way
facts
remains a mystery.
Of the few
ill.
(Thus
inspiration.
influenced by
185, immediately
this
that he
was Walscap-
De Heem - Mignon:
De Heem
shows
away
to the right,
is
surely a
De Heem
favourite. In
379. \\
VLSCAPPELL1
."
ni
25
(66-7 x
527 cm.)
185
it
comparison, like the ear of wheat and the snail. Much to Walscappelle's
credit he approaches something of De Heem's brilliance of finish with the
same powerful reds, whites and blues. The National Gallery canvas has
been laid down on panel which produces a slightly puzzling surface texture,
but the condition of the painting
is
very good.
111.
more
380
is
simplified bouquet,
strong green leaves, set off by the brilliant red poppy, are not background
staffage
but are treated with the same degree of attention as the flowers.
The brushwork is broader with a richer impasto on the surface of the panel.
The composition, much less compact and more sinuous, is enlivened by
the display of butterflies.
This privately owned painting is similar to the larger canvas dated 1667
and Albert Museum, London (ill. 379). Indeed, with the
same open poppy and poppy seed at the top, the same basic top left to
bottom right arrangement, with every vein of the leaves observed, they are
in the Victoria
left in
each
Theyer
and Broughton collections have the same bloom. Walscappelle may have
derived this use of two heads of hydrangea from his teacher Kick, as comparison with ill. 209 would suggest. This seems the only point of contact
between the obscure Kick and his pupil who so soon became independent
of him and far superior.
Bol, in the book already referred to above, also illustrates a signed flower-
must be of a
different period
from the
WALSCAPPELLE
380. (above)
23 x
381.
(left)
207 x 16^
WEYERMAN, signed
in.
(52 x 41 cm.)
yt
*&*
wg
Mr
UV
'
<
_;
/^E ^
jjjk.
*JP*'.^
'
'
5^S
^!
Mr^B^Ll*^H*QS
382.
WEEN IX
24^ x 19^
in.
259
ments will come to light to help with the chronology of the career of
rare and accomplished master.
WEEXIX, Jan
383.
WEGMAYR.
52^x37!
in.
(134
signed
x96
cm.)
this
dutch
(1640-1719)
The composition and style have the ease of the gifted decorative artist
and perhaps the study of this canvas would lead to the attribution of other
flowerpieces to Jan Weenix.
WEGMAYR,
Sebastian (1776-1857)
383, a large,
111.
was
a generation
painters.
impressive panel,
is
the
Austrian
work of Sebastian Wegmayr who
He became
a professor
in the
of the Vienna
Academy
in
18 12 and,
with Drechsler, he was the teacher of Franz Petter. The same characteristics mentioned with Xigg and Petter, namely a kind of flamboyance of
each flower and a tightly
filled
bouquet, make
a lively flowerpiece
of great
decorative impact.
dutch
Weyerman
is
384.
WITHOOS,
7
260
Matthias, signed
69-2 cm.)
best
published
'the
Weyerman way
of
life.
In 1738
The Hague where one of his pamphlets fell foul of the Dutch
Company and he was sentenced to life imprisonment. He died
he returned to
East India
work is rare and one would gladly exchange a knowledge of other examples
for some of the rather irrelevant though entertaining biographical details.
dutch
who
travelled
he worked
at
and Art Gallery, Nottingham. The frog eyeing the butterfly, like the finely
meticulous foliage, directly recall the work of Van Schriek yet the mood
is less sinister. The open background removes much of the mysterious
unease of his master's work. At Buscot Park there is an example with
more flowers and birds and a house in the distance, as in the example
illustrated. Withoos was praised by Descamps writing in the mid-eighteenth
century. Of his four children, Pieter Withoos was the most accomplished.
;
385.
WRIGHT,
i5i x 12!
WITHOOS, Pieter(i654-i693)
Born
in.
signed
(39-4x31-8 cm.)
dutch
WRIGHT, James
111.
385
is
American
was
still-lifes.
1836 in New
York, where he regularly
Amsterdam.
Henry (1813-1883)
a rare flowerpiece
a portrait painter
at
is
New
strange
bunched
flowers and the sketchy fussiness of the vase, and the stems in the water.
His
is
YKENS,
The work
flemish
Frans (1601-1693)
fruit, flowers,
and
still-life.
Born
Antwerp, he was apprenticed to his uncle, Beert, at the age of fourteen. He then went to Provence, for reasons that are unknown, and must
presumably have stayed in Paris on the journeys. He was back at Antwerp
by 1630 when he enrolled in the guild, and he remained there for more
than sixty years, a well-established figure with pupils. Yet his fortunes,
at
like his
work, fluctuated.
386.
WITHOOS,
i2 x 8
in.
Pieter, signed
34] X48^
in.
in.
YKENS,
signed
17^ x '3s
ZURBARAN
(44x34 cm.)
261
owned
The
latter
by Ykens.
111. 387, a panel of imposing size, superbly combines the different subjects
which Ykens favoured, with a richness of colour typical of the finest Flemish
six flowerpieces
traditions.
The
but
Antwerp influence,
work varies,
example, Ykens was an excellent
bouquet of
this
life
flower painter. His niece Catharina Ykens, born in 1659, was also a flower
painter.
ZURBARAN,
One
Spanish
Francisco de (1598-1664)
of the major Spanish painters of the seventeenth century, ZurbaraVs
superb mastery of the still-life is assured by his only signed and dated
example, the lemons, oranges and a rose recently bought for a record sum
by Mr Norton Simon from the Contini Bonacossi collection. Other still
lifes have been attributed to Zurbaran by comparison with his masterpiece of 1633, but none can equal its quality. In the opinion of Bergstrom,
he points to a similar
388 was probably painted in Zurbaran's studio
lilies and roses in a signed and dated painting of the infant Mary
of 1626. The colour scheme is simple with white lilies and pink roses and
carnations in a painted earthenware jar. How exciting it would be if a
ill.
vase of
come
to light!
Even
can be
i()i
felt.
Bibliography
*.
34
W. Pach. 1937
32 Delogu, G. Natura morta italiana. 1962
33 Earp, T. W. 'Flower and Still Life Painting', Studio, Winter
1928/29
35
Symbolism
'Disguised
and
Life
Still
in
"Madonna"
Pictures
955
v
()sias
Been
Floreros del
W. Die
\\
Tke
*
.
\rt
OJ
Tulipomania. [950
12
13
Grosser!
Moslem. [969
16
Bonnard,
17
Born,
18
P.
19 Bott, (1
Tom
und am
20 Brockway, \\
21 (.assou, J
Wittrlrlicin.
The
llbert
I.W
II,
Isaak Soreau
Museen, Kunst
[952
Peter
in /lessen
[962
Chagall. 1965
I7icmc
siccle',
2s (.oats, A.
20 Coats, P, FloWeri
in
History
107
et
marchand de
1957
* La Nature morte en France. 1962
37
38 Friedlander, M. J. Landscape, Portrait and Still Life, their Origin
and Development. 1949
39 Gachet, P. Deux Amis des Impressionistes
Murer. 1956
Le docteur Gachet
et
40
Gammelbo,
centuries in
1950
44 Gerdts, W. H. and Burke, R. * American Still Life Painting, 197
45 Giry, M. 'L'Oeuvre de Redon et sa signification vers 1905',
Information Hist aire d''Art, XV, 1970
46 (iogh, V. van. The Complete Letters. 1958
47 Grant M. H. 'A Forgotten English Flower Painter,
Keyse', Burlington Magazine, LIX, 193
48-
tmerica. 1^47
Ring', rW-///A/w</,
M.
41
SigloXVII, 1070
9 Bernt,
10 Blunt,
36 Fare,
The
Thomas
Huysum. 1950
Flower Paintings through Four Centuries. 1952
Jan van Huysum. 1954
"
Rachel Ruysch. 1956
5'
52 Greidl, E. Les peintres Jlamands de nature morte au ijieme stick.
49"
50-
1 95 6
Painting. 1950
53 Guldener, H. Flowers : the Flowerpiece in
to Still Life. [954
Introduction
A.
Gwynne-Jones,
54
Masters. 1913
55 Haig. E. The Floral Symbolism of the Great
* Les peintres Jlamands de fleurs an 1 jieme siccle. 1955,
56 Hairs,
revised ed. 1965
'Les specialistes de la fleur au siccle de Rubens',
57
ML.
Bulletin
16,
1967
263
BIBLIOGRAPHY
in
Europe, 1880-1Q40.
91 Rewald,
J.
* Bonnard. 1948
*
92
93
* Pissarro. 1963
94
The Ordeal of Paul Cezanne. 1950
95
96 Reynolds, G. Constable, the Natural Painter. 1965
97 Riewerts, T. Die Maler Tom Ring. 1955
98 Roberts, K. Renoir. 1966
99 Rothenstein, Sir J. Augustus John. 1967
M. Van Gogh.
W. Claude Monet,
100 Schapiro,
195
101 Seitz,
i960
103 Sip,
XXXIV,
69 Lauts,
J. Stilleben alter
J.
Franzosen. 1970
1939
85 Redon, O. A soi-meme : Journal 1867-igis. 1922
86 Redon, A. Lettres de Gauguin etc., a Odilon Redon. i960
264
J.
1964
1969
70
102 Selz,
Independent
Flower
Paintings',
Bulletin
Cleveland
Museum of Art,
107 Sunderland,
J. Constable. 1971
108 Sutton, D. Derain. 1959
109 Tabarant, A. Manet, Histoire Catalographique. 193
1 10 Tuin, H. van der. 'Reproductions and Imitations of old Flemish
Lectures. 1956
116 Warner, R. Dutch and Flemish Fruit and Flower Painters of the
ijth and 18th Centuries. 1928
Exhibition Catalogues
Illustrations
Acknowledgments
and Photographic
of major
catalogues
Exhibition
Foreword
marked with an
are
stillevens
\Yillet-Holthu\ sen
achtiende
de
in
in
the
Credits
(Reverse of frontispiece)
Museum
Amsterdam
importance mentioned
asterisk.
en
Nederlandse
bloem-
Steele
de
Rubens, 1965
CHICAGO, ill. Art Institute: Cezanne, 1952
Ghent Museum voor Schone Kunsten: Roelandt Savery, 1954;
Fleurs et jardtns dans Fart flamand, i960
hartford, conn.
Painters of Still
London
&
Tooth
A.
Madrid
Palacio de
la
Age of
(Photo Scala)
(below) 5. rinio, Benedetto, 'A Rose', early 15th
century, ms Lat VI. 59 (2548) f. 139 Liber de Simplutbus
Biblioteca Marciana, Venice (Photo Courtauld Institute of Art,
Page
12
Page
1964
Centuries,
*Hirschl
14
Still Lives
of the
Grand
Paintings, 1971
:
'
XVII
Page
Bremen
Page 15 (above right) 10. durer, Albrecht, attributed to, 'The
Madonna with the Iris', signed and dated 1508, oil on panel,
58$ X484 in. (1492 x 117-2 cm.)
National Gallery, London (Reproduced by courtesy of the
Page
16 (above) 12.
Marc
Page
of Art:
\m;oi
in.
London
(784 x 64-
cm.)
Paris
17.
Page
Vier eeuwen
stil-
H(,
in.
turn,
1952
18.
19
Altarpiece,
(252
x 5!
R. Freeman Limited)
COLLAERT, Adriaen, Florilegium
J.
Musee du Louvre,
Page 18 (above)
Jacques, 'Dog
Chagall, 1969-70
Museum
Frankrtjk, 1954
Cit\ Art Museum:
LOUIS, MO.
leven
lemoyne de morgues,
si
in.
(63x24- 5 cm.)
I
i'iii\, PA.
hoi rCRDAM
on panel, 11^x8^
oil
British
Henri Fanttn-Latour,
tie
Palais:
1490,
(21-3x14-3 cm.)
Clin IDCI
c.
Musee
young man,
[966
195
memling, Hans,
8.
Collection
448 (A68/1127)
fol
Kunsthalle,
Bresdtn, 1961-62
not l<>ur\
1425, ie
c.
portrait of a
1947
PARIS
'St
6.
ms Lat 17294
Bibliotheque Nationale, Paris
Breviary,
of
Museum
Vatican
Museum
cm.)
NAPLES
Pierpont
2.
bodegones, 1965
\ku vork
du champs
(57 x 33 cm.)
London)
in the
Louis
in.
Page
1938
Life,
'Fleurs
on panel, 9ix6f
brlssels
redon, Odilon,
i.
c.
goes,
1475,
Hugo
oil
X273 cm.)
Page 20
19.
a flowerpiece
size of whole,
Page
21
20.
Fritillary',
iojj
x 8^
in.
gheyn, Jacques de
signed and
dated
1600,
II,
watercolour on
vellum,
2()5
'
Page 22 (below)
Page 23 (above)
X40 cm.)
(By courtesy of Sanders of Oxford)
Page 25 25. huysum, Jan van, chalk, i8| x 14 in. (475 x 356
cm.)
Cabinet des Dessins, Musee du Louvre, Paris
Page 26 26. binoit, Peter, signed and dated 1627, oil on copper, 35 x 22^ in. (89 x 562 cm.)
Private Collection (By courtesy of Messrs De Boer, Amsterdam)
Page 28 (above left) 27. bollongier, Hans, signed and dated
1639, oil on panel, 27! x 2i| in. (68 x 545 cm.)
Rijksmuseum, Amsterdam
Page 28 (above right) 28. schriek, Otto Marseus van, signed
and dated 1661, oil on canvas, 23^ x 19 in. (591 X48-3 cm.)
Collection Mr and Mrs Jack Linsky, New York
Page 29 29. monnoyer, Jean-Baptiste, Overmantel, oil on
chalk, 9$ x 15J in. (24
Page 42 (below)
cm
(121-5 x I0D
on canvas, 47J x 41 J
in.
Rijksmuseum, Amsterdam
Page 43
48.
on canvas,
14-1
in.
The Hague
Page 56
73.
1939, oil
Nicolas,
Kew
the
Natural History)
on canvas,
oil
signed,
on panel,
oil
Page 58 (above)
Museum
Private Collection
Natural History
Frost',
Mauritshuis,
75.
oil
Sons, London)
Page 58 (below)
Page 59
on copper, 12$ x S\
oil
Page 59 (below
in.
bosschaert, Jan
(1016 X813 cm.)
left) 78.
on canvas, 40 x 32
in.
Private Collection
Page 60
Collection the
79. bouillon, Michel de, signed, c. 1640, oil on can34! X464 in. (88 x 117 cm.)
Musee des Beaux-Arts, Tournai (Photo Jules Messiaen)
Page 61 (above) 80. brandt, Albertus Jonas, oil on panel,
Page 30
Page 46 (above
26| x 2i|
canvas, 32
Mauritshuis,
Page 33
The Hague
dated 1772,
oil
vas,
Museum, Cambridge)
bellenge, Michel-Bruno, signed and
on panel, 8^x11 in. (21 x 28 cm.)
left) 54.
(67 x 55 cm.)
in.
Rijksmuseum, Amsterdam
Page 61 (below) 81. bray, Dirk de, signed and dated 1671,
on panel, 16x13$ in. (40-7 x 343 cm.)
Page 62
Sons, London)
Mauritshuis,
Page 49 (below)
1798,
Page 68 (above)
(53 x 38 cm.)
Private Collection (By courtesy of
in.
London)
Page 39 (above)
22x351
Museum
in.
(55-9x90-3 cm.)
Ohio
of Art, Toledo,
on panel,
York)
Page 47 (above)
Edward Drummond
(555X45
4 2 l x 34i
Page 50
254 x 18^
in.
Private
Collection
(By
courtesy
of
Hallsborough
Gallery,
Eondon)
Page 41 (above) 44. bailly, Jacques II, gouache on vellum,
Vj\ X i<)i in (69 x50 cm.)
( .abinct des Dessins, Musee du Louvre, Paris
Page 41 (below) 45. baker, John, oil on canvas, 24x29$ in.
749 cm.)
Royal Academy
(6l
London
266
of
water-
London)
van,
oil
on canvas,
(64 x 46 cm.)
on canvas, 28 x
oil on panel,
(35-6x25-4 cm.)
Private Collection, Jersey (By courtesy of John Mitchell and
14x10
in.
O. Leegenhoek, Paris)
Page 53 (above) 69. bogdani, Jacob, oil on canvas, 68 x 33
(172-5x83-9 cm.)
Royal Collection (Reproduced by Gracious Permission ol
Majesty the Queen)
Private Collection (By courtesy of
J.
oil
in.
Page 65
Page 66
let
on canvas,
cm.)
Private Collection (By courtesy of Nystad Antiquaries.
25-
oil
Page 67
87.
bonnard,
Pierre, signed,
oil
on panel, 18 x 14]
in
1624,
oil
(73x543
on panel,
oil
cm.)
Page 72 (above)
13
x 9i
in
bruyere,
92.
X241
(33>
on canvas.
cm.)
la
London)
Page 73
94. BYSS,
Limited,
oil
(50 x 34 cm.)
Staatliche Kunstsammlungcn. Kassel
Page 74 (above) 95 caffi, Margherita, signed and dated [66a,
oil
in.
in. (59-
X48 cm.)
London)
Page 74 (below) 96. cagnacci, Guido.
The
X40
era
oil
on
(
)
oil
on panel, 27 x 20J
in
51 2 cm.)
(62-5
in.
(45-8x37-5 cm.)
(68
on panel, 18 x 14
Sons, London)
Page
oil
Page
72.
on
The Hague
86.
Hague)
55
oil
85.
panel, 25 x i8 in.
in.
28Jx2i|
Page
on
oil
oil
51
on canvas, 13 X9J
Page 42 (above) 46. harks, Jan Anthonic van der, signed and
dated 1663, oil on canvas, 22I x 29J in. (565 X416 cm.)
(71 X53CIT1.)
Page 54
of Art,
Amsterdam)
Abraham
Rijksmuseum, Amsterdam
Page 51 (above) 65. bettini, Domenico,
Page
oil
Boer,
60 x64^
1865,
De
oil
(45-8x35-6 cm.)
oil
in.
in.
(1075x87 cm.)
Libbey)
Macdonald)
Page 40 (above)
in.
69
cm.)
20J
(Gift of
57.
London)
oil
7s
97
lollection the
impidooi
irl ol
10,
M cm
.eicestei
'
-l
R Freeman limited)
Michelangelo
di,
oil
on canvas,
Page 76
98.
19 x 15 in.
Page 78
100.
oil
125.
of
on canvas,
oil
Page 99
London)
oil
on
London)
Page
oil
on
(78 x 54 cm.)
signed,
Page 99
Munich
Alte Pinakothek,
Fitzwilliam
oil
Page
Pena,
fromantiol, Hendrick
in.
Rome
Bergs from)
Page 80
London)
in.
Page 86
105.
15$ x 12^
in.
(39 x 31
oil
on canvas,
Museum
Page 87
106
rmzu.,
on
oil
Page 89 (above
right) 109
De
Boer,
<
Amsterdam)
oil
on canvas,
(above
101
dolci. Carlo,
left) 130.
oil
(above right)
oil
705 cm.)
Green Fine Paintings,
no
on
oil
134. ELI,
London)
Johann Heinrich Christian,
/11m
cm
(49 5 x 3
Museum, London
Page 92 (above)
18(14),
on
oil
oil
on canvj
in
Page 92 (centre)
54 J
7** J
in
mi,
I. nv is.
oil
of 1)
.argill)
x 8 in
26
in
66
(28 9 x 20 4
on
oil
105 138
Limited, London)
42
cm
III
oil
in.
60
cm
mtCftoJoinr,
London (Reproduced
bv
courtesy of the
Page
in
on
Boer,
10 (right) 144
signed,
oil
on canvas, |H[
II
\\
everbroeck, Frans
668,
on panel,
Amsterdam)
oil
in
(54 x 40 7 cm.)
Private Collection,
112 146
courtesv
ol
in
x 48 9 cm.)
fit
in
(65
PORTE, Henri
in.
162.
(61
New York
Private Collection,
in.
Collection
121
DENTS,
(an, oil
Gallery of Art,
on (anvas, 11x29
in
Washington,
D.C
Page
1627,
oil
on canvas, 85 x 55J
oil
(Chester
Dale
X648 cm)
Page
Mr
in
13
(above right)
148.
in.
(Burrell Collection)
(52
x 40 7 cm.)
145 x
McBean,
Peter
127 (above
right)
oil
Pieter, signed
1
16 cm.)
California
170.
in
New
York)
oil
on
172.
oil
Association Ine
oil
173.
panel, b{ x
5^
in.
cm.)
(left) 174
Chattanooga, Tenn.
HAVERMAN, Margarcta, signed and dated
on canvas, 31
J]
23:} in.
(794 x 38
cm .)
signed,
1716,
on canvas, 20$ x 16
in.
HARDIME,
169.
on canvas, 57 x 45J
Page 129
oil
Gallery,
Hallsborough
oil
(159 x 38
(559
of
London)
Collection)
Page
in.
cm.)
National
x54 cm)
oil
(62 9 x
fork)
1866,
in.
Boer, Amsterdam)
Collection
De
De
Page
oil
oil
cm.)
749
Page 98 (above)
oil
Minneapolis, Minn.
garzoni, Giovanna,
121
Arts,
Page
1881,
141
x8o
Page
London)
Page 97 (left)
21J x 16
cm
c.
Staatsgalerie, Stuttgart
Page
Collection)
(46-3x33-6
on
oil
'
Institute of
cm
New
Newman
VV
(J n
Oil
121 161
24 x 18
in
in.
Page
15 in.
canvas, 3
>i
Page
Page 108
Antwerp
National Gallcrv,
117 DAI
on
(67
oil
Page 93
on canvas.
1S63,
(Hv courtesv of
1638,
signed,
London
Page 92 (bottom)
rt
cm
139 x 200
Private Collection.
(oris
115
oil
Page
51
on
Page 106 139 EHRET, Georg Dionysius, signed and dated 1744,
water and body colour on vellum, 203" x 14! in. (52-7 x 363 cm.)
Victoria and Albert Museum. London (Photo Derrick Witty)
(iinm, Mciffrcn,
114
oil
on panel, 10 x 7J
on canvas,
oil
Page
London)
oil
1846,
me Tangere\ signed,
18 x 197 cm.)
( 1
Limited, London)
oil
in.
Page
Page 104
4i x 77l
Page
oil
London)
London)
Page 90 (above)
millboard, 19)
on
London)
drechsler, Johann Baptist,
on canvas, 34+X27I in. (876 x
IIJ
oil
132.
91
van, signed,
Page 116
dongen, Kees
(130 x 889 cm.)
Page
on canvas, 27! x
Page
1839,
Wurzburg)
(70x55 cm.)
in.
London)
111
on
Page
cm
(61 x 50 8
in.
oil
x 28 cm.)
24 x 20
la
X2I-6 cm.)
right) 129.
in. (41
1 1
(27-3
Page
panel, i6 x
Page
2i|
London)
in.
Page
x8^
Museum
ol
London)
267
New
in.
York)
Munich
Page 133 (right) 183. hendriks, Wybrand, signed, oil on panel,
39$ X29J in. (100x76 cm.)
Teylers Museum, Haarlem
Page 134 184. henstenburgh, Herman, signed, gouache on
vellum, 14J x 12^ in. (37-5 x 318 cm.)
Teylers Museum, Haarlem
Page 135 185. heem, Jan Davidsz. de, signed, oil on panel,
2ijx 16 in. (54-6x40-7 cm.)
Private Collection (By courtesy of Edward Speelman Limited,
London)
Page 136 186. GOGH, Vincent van, signed, oil on canvas,
Alte Pinakothek,
36 x 28
in.
Macdonald)
Page 138 (below right) 190. hirschely, Jan Kaspar, signed
and dated 1724, oil on copper, 13^x9^ in. (343 X242 cm.)
Private Collection (By courtesy of Parke-Bernet Inc.,
New York)
oil
39I x 28!
Collection
(100
211.
knapp,
New
30 x 25
196.
huysum. Jacobus
van, signed,
oil
on panel,
Page 143
197.
huysum, Jan
oil
Page 144
24J
in.
198.
(8o-6 x
huysum, Jan
622 cm.)
1 ,
1732,
Museum, Haarlem
in.
39x31^
in. (99-
van, signed,
oil
on canvas, 31J x
oil
on
of the
Johann Georg,
oil
on canvas, 34! x
26JJ in.
Page 147
in.
Page
268
on canvas,
London)
217. manet, Edouard, signed, oil on canvas, i2^x
(318 x 248 cm.)
Art Gallery and Museum, Glasgow (Burrell Collection)
Page 159 218. lambdin, George Cochran, signed, oil on canvas, 30 x 20^ in. (762 x 514 cm.)
Page 158
in.
Nicolas,
ledesma. Bias
on
Page
161
Son, London)
Page 161 223.LEEUWF.N,Gerrit Jan van, signed and dated 1795,
oil on canvas, 2oi x 14^ in. (54 x 365 cm.)
oil
on canvas, 30 x 27
in.
marlier, Philip
231.
in.
(62
signed,
London)
on copper,
oil
X47 cm.)
(By courtesy of Robert
Collection
Private
de,
Finck
Gallery,
Brussels)
167 232. mast, Dirck van der, signed and dated 1656, oil
on panel, 27 x 36$ in. (687 x 925 cm.)
Private Collection (By courtesy of Nystad Antiquaries, The
Hague)
Page 168 (above) 233. mayrhofer, Johann Nepomuk, signed
and dated 1821, oil on canvas, 20 x 14J in. (50-8x368 cm.)
Private Collection, England (Photo Derrick Witty)
Page 168 (below) 234. merian, Maria Sybilla, gouache on
vellum, 13^ x ioi in. (33-3 x 267 cm.)
Natural History Museum, London (By kind permission of the
Trustees of the British Museum/Natural History)
Page 169 235. melendez, Luis, oil on canvas, 20J x 30J in.
Page
(53-5x78 cm.)
of Fine Arts, Boston, Mass. (Margaret C.
Wyman
Newhouse
Page 170
melgar, Luis
236.
de, signed
Newhouse
oil
Galleries,
on
New
York)
Page
1760,
oil
on canvas, 34^ x 29
in.
London)
Page
7^x5*
in.
(19
x14
micheux, Michel
cm.)
signed,
oil
on panel, 19 x
Galleries,
New
2c4
240.
mignon, Abraham,
signed,
oil
on canvas, 23! x
(60 x 51 cm.)
in.
19^
in.
Page 175
oil
242.
on canvas, 21 \ x 25I
in.
1878,
(545 x 65 cm.)
in.
(50-8x37-5 cm.)
Page
Kunsthaus Lempcrtz,
Cologne)
247.
morel, Jan
oil
oil
on panel,
morandi, Giorgio,
32^ x 26 in. (82 x66 cm.)
left) 248.
on canvas,
Evert, signed,
Page
1808,
oil
in.
i.
S. J.,
225.
Island,
NY.
oil
(Melville Collection)
oil
250.
on canvas, 30x25
Gift of
Page
Page
London)
on panel, 32 j x 25
24$ x 18^
Page 173
oil
Page 166
on panel, 12^ x
oil
London)
x8ocm.)
Private Collection
1808,
(40 / 29 8 cm.)
'
on canvas,
oil
York)
Rijksmuscum, Amsterdam
Page 145
Josef, signed
597 cm.)
on canvas, 25^ x
in.
Fund)
oil
oil
2oJ
Museum
X73 cm.)
Oscar Ghez, Geneva
in.
Purchase, 1957)
oil
York)
Page 142
Sons, London)
Page
de, oil
York)
Page 150 205. J anssens, Anna, signed, oil on panel, 39$ X26$in.
(100 X67 cm.)
Private Collection (By courtesy of Messrs De Boer, Amsterdam)
Page 151 206. kelderman, Jan, oil on canvas, 364x28 in.
(93x71 cm.)
(By courtesy of Mak van Waay N.V. Art Auctions, Amsterdam)
Page 152 207. kessel, Jan van, oil on copper, 7 X9 in. (178 x
229 cm.)
Palais de Fontainebleau
dated 1848,
Abraham
229. lust,
New
9!
191.
Page 139
Teylers
Page
181
251.
187(1, oil
ondon)
on canvas,
Co
Limited,
Pans)
Page
1
7(12,
182 (above) 252. myn, Cornelia van der, signed and dated
ml on canvas, 29J x 25J in (76 x 64 cm.)
Rijksmuseum, Amsterdam
ILLUSTRATIONS
Page
1730,
oil
on canvas, 29 x 24+
Muzeum Narodowe,
oil
19J x 15
(50-2
in.
38-
on panel.
oil
280.
redolte,
of Devonshire
1666,
in.
oil
Page 216 305. RUYSCH, Rachel, signed and dated 1709, oil on
canvas, 30J x 25 J in. (78- 1 x 638 cm.)
Private Collection, England (By courtesy of John Mitchell and
Sons, London)
1875,
'l
London)
Page 217 (below) 307. roepel, Coenraet, signed and dated 172 1,
oil on canvas, 26^ x 2of in. (665 x 525 cm.)
Rijksmuseum, Amsterdam
Page 218 (above) 308. roestraeten, Pieter Gerritsz. van,
signed, oil on canvas, 28^ X24J in. (72-1 X622 cm.)
Private Collection (By courtesy of Christies,
Page 219
(38 x 48 cm.)
310.
romero, Juan
15 x i8^
24+
Limited. London)
Page 188 (above) 260. SOREAL, Isaak, oil on panel, 22 x 35^ in.
559 X921 cm.)
Ashmolean Museum, Oxford
Page 188 (below) 26 monnover. Jean-Baptiste, signed, oil on
1
London)
signed,
oil
on vellum.
H9<-m
Marlborough Fine
of
oil
ni//i.
Mario,
on canvas, 281x22$
oil
in.
172 4 x 56 5 cm.)
Mcthuen
Page 190 (below) 265 obervmn. \nthon>, signed and dated
1810. oil on canvas, 4J x 3* in
105 x 9 cm
Collection Lord
(Bv
Collection
Private
courtesv
Kunsthaus
ot
l.empertz,
Cologne)
(above) 266
in
101 o x 127
nymfgfn.
cm
lias
I-
van.
on canvas,
Bernard, London)
OBIDOS, Josefa
dc, signed
and dated
oil
I40 7
16 x 12 in
Ne*
York)
Page
192
'
(above
cm
oil
on canvas.
Staatliche
OOtTUWTCS,
(72 K ,6 cm
in
oil
Teylcrs
Museum
H t in (62 N 47 cm.)
on panel, 24J M
Museum, Haarlem
on canvas.
h|0'i|O cm.)
London)
Page 191 fbrlowl i-\ PA] vifr. Frances Mora Bond, signed
and dated 1862, engraving by Currier and Ives, 20x27! in
69 8
cm
panel, 25 x iHJ in
(63
46
oil
on
27'.
pmii, Rubens,
canvas. 20 x 24 in
( .oiler
on
oil
on
(508x61cm)
Page 196
Page 196
\r
York)
(left)
on panel,
2 \i * 19J in
(,'=;'
i\\
\<i
Museum,
in
296.
(76
<
''
oil
on canvas, 30
cm.)
Co
London)
(43-8x35-6 cm.)
(Bj lourtcsv ol Frank T Sabin, London)
Page 212 301 ring, Pictcr dc, signed and dated 1643,
canvas, 25 x 32J in (63 5 X85 1 cm.)
Print! ( .ollcction (By courtesy ol I lal
dallrrv Inr
oil
3. oil
London)
Page 19s-
2ft
olognc)
inf', signed
cm
on canvas,
Page 224
1
(right) 318.
in.
319.
ruysch, Rachel,
Page 225
I2|
oil
on canvas, i2fxioi
in.
x 26 cm.)
in.
320.
oil
Witty)
on copper, 17! x
(441 X3i-5cm.)
USA
Private Collection,
Sons, London)
Pages 226 and 227 321. roesen, Severin, signed, oil on canvas,
40 x 50^ in. (1016 x 128 cm.)
Metropolitan Museum of Art, New York (Charles Allen Munn
Bequest; Fosburgh Fund Inc. Gift; Mr and Mrs J. William
Middcndorf II Gift; and Henry G. Keasby Bequest, 1967)
Page 228 322. spaendonck, Gerard or Gerardus van, signed
and dated 1785, oil on canvas, 30^ X23I in. (117 X91 cm.)
on panel, 0^ x 7
in.
(24 x 18 cm.)
Gallery,
29J x 23J
(32
London)
Page 206 (above) 294 raffaelli, Jean Francois, signed, oil on
board. 28} x 24 in. (72 4 x6l cm.)
Private Collection (By courtesy of Hazlitt Gallery, London)
the Younger,
oil
Asshetnn-Bennett Collection)
01 dry, Jean Baptiste.
Libbey)
left)
York)
dated 1854,
cm.)
York)
New
signed,
X622
London)
on canvas, 20$ x
Page 207
sij x ,,j in
(Bequest of George
New
Page 223
192 (above right) 271 os, Jan van, signed, oil on panel.
28J x ix in l])/i;i|imi
\rt Galltrv, Manchester (Bv courtcsv of the Trustees ol the
( ifv
193 (above) 272
New York
in. (52-
Bautista, oil
Page
Page
of Art,
Blumenlhal)
Kunstsammlungen, Dresden
signed,
Private
269
left)
on canvas. 28J x 22
Page
oil
in.
oil
Page
45J
Metropolitan
191
40 x 50
Paintings,
Arts,
London)
Page
Green Fine
London)
Page 204 (above)
(By courtcsv
Collection
Private
London)
oil
in.
cm.)
187 259
Warsaw-
Page 184
Page
279.
Page 198
oil
Page 197
on canvas,
255.
Duke
Collection the
oil
signed,
Ben
oil
Centraal
oil
on
)'N'ians Gallery,
in.
London)
(1003 x
624,
1894,
oil
326.
on canvas, 22 x
(56
X408
cm.)
Hamburg
dated 1670,
oil
Hague)
niger',
signed,
Museum
oil
Ims du
Museum,
torn
XL, No
58)
left) 328.
schouman,
Aart, watercolour,
(413 x 25 6 cm.)
Teylers Museum, Haarlem
Page 231 (above right) 329. schook, Hendrik, signed,
in.
oil
on
2(H)
London)
oil
oil
on canvas,
Daniel,
on canvas, 37 x
oil
oil
on canvas,
oil
on
in.
Page 236
oil
Private
Cologne)
Page 237
340.
oil
Sons, London)
van,
oil
oil
on canvas,
on canvas, 30 x 38
in.
left) 344.
in.
oil
on
346.
spaendonck, Gerard
London)
or Gerardus van,
in
(45 x
Page
J.
A.
in.
(47 x 64 4 cm.)
oil
on panel, 15 x 165
in.
(38 x 43 cm.)
left) 356.
Kunsthalle,
in.
von, dated
(92 x 74 cm.)
Hamburg
1840,
oil
on
x 8|
in.
361.
on
(25 x 21 cm.)
De Boer, Amsterdam)
\erbrlggen, Caspar Pieter the
Younger, signed, oil on canvas, 44+ X31 in. (113 X788 cm.)
Private Collection (By courtesy of H. Terry-Engell, London)
Page 250 (above left) 363. verelst, Cornelis, oil on canvas,
Private Collection (By courtesy of Messrs
362.
Museum, Cambridge)
oil
oil
canvas, 38 x 29
in.
left) 372.
in.
London)
Page 256 375. walscappelle, Jacob, signed, oil on canvas,
2 3i x 18J in. (597 x 476 cm.)
National Gallery, London (Reproduced by courtesy of the
Trustees of the National Gallery, London) (Photo Derrick
Witty)
Sons, London)
Ill
270
dated 1626,
oil
oil
Paris
Page 242
Marquess of Lothian
Collection the
(64 x 44 cm.)
Musee de ITmpressionisme,
Page 240 (above right)
Collection E. A.
Museum
oil
oil
172-,
London)
Page 244 (below)
1830,
Son Limited,
1855,
canvas, 30 x 22
iii *27i
panel, 12 x 10 in.
in.
1667,
oil
Rijksmuseum, Amsterdam
Page 259 (below right) 382. w eenix, Jan, oil on canvas, 24+ x
19J in. (622 x 502 cm.)
Ashmolean Museum, Oxford
Page 260 (above) 383. wegmayr, Sebastian, signed, oil on
panel, 52J x 37^ in. (134 X96 cm.)
Osterreichische Galerie, Vienna
Page 260 (below) 384. withoos, Matthias, signed, oil on
canvas, 34^ x 27J in. (876 x 692 cm.)
City Museum and Art Gallery, Nottingham
Page 261 (above) 385. wright, James Henry, signed, oil on
canvas, 15J x 12^ in. (394 x 318 cm.)
Private Collection (By courtesy of Hirschl and Adler Galleries,
New York)
Page 261 (below) 386. withoos, Pieter, signed and dated 1683,
gouache, i2{ x8 in. (321 x 204 cm.)
Private Collection (By courtesy of John Mitchell and Sons,
London)
Page 262 (above) 387. ykens, Frans, signed, oil on panel,
34ix48|
in.
(87
x123 cm.)
on canvas, 24$ x 21
388.
zurbaran, Francisco
'7l x ! 3l in (44 x 34 cm )
Prado, Madrid (Photo Manso)
-
de, oil
on canvas,
Index of Artists
Figures
bold type
in
van 33
Willem van
Aelst,
1,
17. 1;
Abrahams/
14.
'
18
167
17,
Aubnct, Claude
18. 21. 24, 2;, 26, 27, 31, 39. 40. 41,
179
40-1
jg,
(Kb. 105)
Bosschaert. Ambrosius the Younger
\ugustim, Jan 70
Aved, Jacques- Andre-Joseph 85, Ho
41. 41
,7, 59,
21
Hra
Madeleine 41
Brav
245
Francois 43
in,
Baudcsson. Joseph 41
Bauer, Francis
17,
16,
43
|t>,
44
<;
17
us
U.
7)
Brueghel, Pielcr
Brunei, Paul
184
Bellenge.
'77
Michcl-Bm-
uj
Benner, Jean
j'..
4I1,
44. II,
Itvss,
111),
1,2
2 14,
(Bib
1,4. 162,
'14,
hcodorus van
Elisc
an-Bapiistr
.n/ I'.scl 72
ihann Rudolf
Bellini,
Dnmenico
Marie 04
|'i
,"
Abraham van
lulu IU
fill
Hmoii
PctCT
(Bih
,9,
.'
24s.
109, 11 1-14,
Gowe uj,
114
Fieravino, Francesco 91
ion,
Mario dc'
sec
Georg 104,
Flegcl,
Nuzzi, Mario
113, 114, ibb, 245,
(Bib. 78)
Thomas
roiv, Pierre
ionic
de
John
incr.
Matthew 43
Flinders,
41, 15b
la
114-15,
Francis,
74
John
20b
27, 28,
Gallc,
'
De
la
63)
I2
2oh
bi, 74di
28,
'
1
mil 79
iportea,
Diaz dc
12;
"4
18,
I
'/'/,
7'i
(arisen, Dines 80
(arisen.
79
p-
la
123,
100, 217
Theodore 50
Geromc, Jean Leon 20b
Ghcyn, Jacques dc II 16,
(Bib 88)
Glackcns, William
Mili/nis,
lendrick
140, 141
[56,
S'l
139,139
llobbema, Meindert 191
Hoccke, Jasper van den 26, 139-40, 131)
Hocfnagel, Georg ;;, 18, 27, 51, 14,
119)
Gcricault,
Girardet, Jean 90
( ijude
99
Pcna, Narcissc Virgilc 99-
52
(Bib
137, 138
uq
iarzoni, Giovanni
19, 121
Gauguin, Paul 53,98, nh, 119-20,
'12,
ll,
IS,
Hicronymus
Michelangelo Mrnsi)
1
Fcdc 19b
Pietcr
Wybrand
Hermann, Hans
Henry 182
Gali/ia,
166
II
Jan Davidsz. de
127
F.
132
114, 115
Iranckcn, Frans
luscli,
.;/,
at Walscappelle, Jacob
Hendriks,
Porte, i.uca
244
Cornells de
191
Heem,
Hcem,
Heem,
Hcem,
Heem,
Caravaggio. follower of
131
Theodore 31,92,94,
244
Ferguson, William
III, ;/;
Faes, Pieter
(rcpu.Jcan Baptisic de bo
anova, Antonio
25. 74. 7b. 79.
127, 219
58
12,
99, ***
CorsVlffio
Fabritius, Carel 8b
82,92,94,97,9;,
72
50,
30. 70-2,
alb
127, 190
104,704
J.
75. 7S
4*1
him
\hraham van
I'. j'
Bimbi,
Haslinger 168
Campidoglio. Michelangelo
155
\ crhnlst,
Maria Helena 73
(.alraai,
,,
\'i
-,
Hartinger, Anton
04
17, 17
Clillcbottc, (nislaw
-,
253. 258
Enneking, John
Aelst, Pietcr
\i-lhcrt
'14
Marghrrila 29.74.;/.
Cagnacci. (undo 74, 74, II]
<
Ottmar ioj,
Johann Baptist
121)
hi,
52
|i
W,
47, 247
Cocckc van
Couture,
18, 11
lb
Halszel,
Eliaerts,
Elliger,
4-
Benner-Pnes, Jean
89, 8g
Urmerr.
George
*s7
1 1
48
Earlom, Richard 21
Ehret, Georg Dionysius 30, 43, 103,
87-8
87-8, 88
53,
152
10, 11
Beggarstaff Brothers'
1,
174,212
173,
the Klder
ti'i.
139, 230, 23
'</.
Pieter 28
Bauer, Lucas 44
Ba/illr, Frederic
Claes/
'\ civet'
Claesz.,
Anthony
Anthony
Claes/
, 1,
Brcntel, Priedrich
Bauchanl. \ndr-
Guernier, Louis du
Duchemin, Catherine 43
2 |j
Collacrt, Adriaen
15,
Bouillon, Jean de bo
porte,
'"7. 229
Mario 230
Barbicrs, Pietcr
28,
246
Boucher, Francois 4b, 212
60, 69,
Jacques 41
Jacques II 41
.hn 41. 41
-V M,
Clare,
2,7,
124, /2j
Greco, El 151
Babcock, William P
s4-
102,
239
54. y)
Goya
14)
Abraham
Bosschaert,
'5)
24b
14'. 1*7,
Champaigne, Philippe de
"3,
36.
Marc
246
Mini,
99. J53
Asstcvn, Bartholomcus
Baillv,
162
Arellano. Jose de 35
\rellano, Juan de 35-6, jb, 43, 139, 190,
Baillv.
Hans
80, 128
32
Arcimboldo, Giuseppe
1
Cassatt,
73. '39
Apelles
Mary 80-2,
33.54. 98. MI, "'4. "5. '44. 53164. 223, 224, 232, 253
Angermeyer, Johann Adalbert 35. ,>,
titles in
12
46, 100)
I
in,
125,
(Bib
50,
2(10,
17)
271
INDEX OF ARTISTS
Younger
144,
M9
Huysum, Michiel van
Isabey, Jean-Baptiste 90
Janssens,
Abraham 150
Anna 150-1, 130
Hieronymus van
Peale, Titian
Peelers, Clara
14, 14
Peto,
259
Edward
7,
La Farge, John
131, 159,
59
159-
Lawrence,
Sir
Thomas 94
16-17,
1-
Leonardo da Vinci
Leriche,
I.
S. J.
Lievcns, Jan
2-j,
Ramsay, Allan 21
Ravenzwaay, Adriana van 206, 206
184
/,'</,
hi,
112,
'1)2,
240
21
24,
Paret, Luis
Marlier, Philip de
272
'9.1
194. '94
Pautiut 1 1, 44, 126
no,
Sisley, Alfred
Slevogt,
Max
15,
254, -'57
Edouard
Vuillard,
Chaim
84
53,
Wegmayr, Sebastian
260, 260
West, Benjamin 142-3
Simon de 253
Youet, Simon 48
184,235,235
30, 31, 40, 46, 47, 49, 72, 87, 93, 94,
14, 214,
Ylieger,
Smith, Matthew
22)
12)
102, 239,
Rinio, Benedetto 10
Soutine,
8.97)
212
91
230
Pietersz.
James 234-5,
249
261
191
Guido 74
191, 192
56,
'
Reni,
209-
Luyckx, Chnstiaan
60, 249,
Herman 249
Seitz,
249
Verbruggen, Gaspar Pieter the Younger
Simon
Verelst,
34,
Anne
Verelst,
155
Nellius,
182, 184
Raffaelli.
191, I92,
Andrea
Putter, Pieter de 50
161, 162
131
Linard, Jacques
Levo, Domenico 51
Licbermann, Max 91
Nicasius 98
Nicholson, Ben
79, 189
32, 39, 40, 48, 54, 57, 58, 64, 70, 73,
Nymegen,
14, 16
230
Munch, Edvard
20 3
Miiller, Victor
159. 156
Lucien 203
24,(Bib 75)
Portail,
Vaffayer-Coster,
Tommaso
84, 94)
Salini,
246. 254
Teniers, David 64
Thielen, Jan Philips van 233, 247, 247
Simon
229
Tamm,
Saint-Jean,
156
224
Ruysch, Frederik 223, 224, 232
Ruysch, Rachel 24, 30, 35, 124, 144,
164, 172, 191, 217, 277, 218, 222-4,
203, 220
196
Ladell, Ellen
Picart,
Theodor 199
J. van 258
Ruoppolo, Giovanni Battista 47, 222,
222
Ruysch, Anna Elizabeth 172, 222, 223,
Kisling,
262, (Bib. 7)
Ruisdael,
John 127
Franz Xaver
Petter,
Amedeo 154,239
Moillon, Louise
Younger 153
199, 799
195
Peeters, Geertje
245. 258
Peale,
195
194, 195
Rembrandt 195
Rubens 183, 194-5, '95
Modigliani,
Ladell,
64, 152
Mary Jane
Peale,
Kail,
Peale,
194, 195
James 195
Peale, Raphaelle
Mignard, Pierre I 43
Mignon, Abraham 13,
Peale,
Kessel,
Memling, Hans
144, 149
Ingres,
Janssens,
Willacrts,
W ithoos,
Adam
171
W ouwerman.
Philips
115
Stccnbcrgen, A. A. 155
218
Rombouts, Theodooi 247
Romero, Juan Bautista 218,2/9
Rootius, Jacob 119,137,218 19,2/9
Stall,
Steer, Philip
Wilson 81
**/,_ 3
3S9&, 001
~'**^**>*^M
>*
L t'b>
COPLEY SQUARE
GENERAL LIBRARY
he Date
]
dicates
'
'
pocket.
ft
Jacket illustration:
Detail from a painting by
Jan Davidsz. de ^eem (see page 135)
ISBN: 90.6397.032.3
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Y
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