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On the back cover of the March/April 1964 issue of Craft Horizons.
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Stunning still life by alessandro pasinelli
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The master of still life himself: Giorgio Morandi, Bologna 1953
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Floris Claesz Van Dijck--Laid Table 1622 Oil on wood, 100 x 135 cm Haarlem Dutch painter, specialized particularly in kitchen and fruit still-lifes. There is an affinity between his motifs and those of Nicolaes Gillis and Floris van Schooten. literature and food music and food artists before 1650 bookshop (UK) Still-Life with Cheeses Oil on wood Rijksmuseum, Amsterdam Early seventeenth-century still-life painters of food depict objects from a high point of view, to show as much as possible of the surface of a table, a vantage point similar to the one used by contemporary landscape, marine, and architectural painters. Symmetrically arranged platters of fruit, cheese, nuts, sweets, as well as glasses, jugs, and knives, are spread upon a flat tablecloth. The intimate objects appear to pose in a steady light, showing how carefully every surface and texture has been scrutinized and how faithfully everything has been rendered. It is perhaps difficult for us to imagine the amazement and sheer delight seventeenth-century observers took in the skill of artists who could represent delicious food with such exactitude: our eyes have been numbed by countless colour images of food illustrated in cookery books and advertisements designed to sell packaged edibles. Private collection The aesthetically conservative principle of tables arranged strictly parallel to the horizontal edges of the painting was followed by Nicolaes Gillis and Floris Claesz van Dijck. (Predecessors were probably family paintings such as Marten van Heemskerck's.) Their still-lifes are classified as 'ontbijtjes' (breakfast still-lifes). Onbijt(je) was a light meal which could be taken at any time of the day. Strictly speaking, most of the paintings by Gillis and van Dijck are dessert still-lifes, developed at roughly the time by Osias Beert and Clara Peeters. All these artists show a table with a table runner and a carefully ironed, white damask tablecloth whose creases, regardless of the laws of perspective, run in parallel lines towards the back of the painting. A relatively high viewpoint was also chosen, apparently to afford a good overall survey of the objects, which are arranged side by side, or in a circle, hardly ever touching or overlapping. The precious drinking vessels and pieces of textile show very clearly that the arrangement is that of a privileged household. In accordance with etiquette, fruit, pies, nuts and confectionery were served as a dessert. Cheese, which had a central role in Gillis's and van Dijck's art, was also part of the dessert. Gillis and van Dijck build up pyramids of hard cheese in two or three layers: at the bottom there is half a large cheese with a rich, yellow hue, indicating that it is still very young, while on the top the cheeses are smaller and more brownish, almost grey in colour, showing that they are older and more mature. The irregular traces of cuts with a knife - the only piece of cutlery on the table - are rendered extremely well.
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Still Life with Chafing Dish, Pewter, Gold, Silver, and GlasswareWillem Kalf (b Rotterdam, 1619; d Amsterdam, 31 July 1693). Dutch painter, art dealer and appraiser. He was thought for a long time to have been born in 1622, but H. E. van Gelder’s important archival research established the artist’s correct place and date of birth. Kalf came from a prosperous patrician family in Rotterdam, where his father, a cloth merchant, also held municipal posts. In the late 1630s he travelled to Paris and spent a long time in the circle of Flemish artists in St Germain-des-Prés, Paris. In Paris he painted mostly small-scale rustic interiors and still-lifes. Kalf’s rustic interiors are dominated by accumulations of buckets, pots and pans and vegetables, which he arranged as a still-life in the foreground (e.g. Kitchen Still-life, Dresden, Gemäldegal. Alte Meister). Figures usually appeared only in the obscurity of the background. Though painted in Paris, these pictures belong to a pictorial tradition practised primarily in Flanders in the first half of the 17th century by such artists as David Teniers. The only indications of their French origin are a few objects that Flemish exponents of the same genre would not have incorporated into their works. Kalf’s rustic interiors had a major influence on French art in the circle of the Le Nain brothers. The semi-monochrome still-lifes Kalf produced in Paris form a link with the banketjes or ‘little banquet pieces’ painted by the Dutch artists Pieter Claesz., Willem Claesz. Heda and others in the 1630s. During the course of the 1640s Kalf developed the banketje into a new form of sumptuous and ornate still-life (pronkstilleven), depicting rich accumulations of gold and silver vessels. Like most still-lifes of this period, these were usually vanitas allegories.
Willem Heda (Claesz.) (b Haarlem, 1594; d Haarlem, 1680). Breakfast with Crab. Willem Heda (Claesz.) (b Haarlem, 1594; d Haarlem, 1680). Dutch painter. He was a still-life painter, who, like Pieter Claesz., is noted for his monochrome breakfast-pieces, which are, however, more opulent than those of Claesz. Heda’s earliest dated work is a Vanitas (1621; The Hague, Mus. Bredius), which shows a still-life from a high viewpoint, composed of various objects bearing vanitas associations (e.g. a bowl of glowing embers, smoker’s requisites, an overturned glass and a skull); the colouring is in brownish-grey tones and represents one of the earliest examples of a Dutch monochrome still-life (‘monochrome’ refers to the range of tones, rather than of colours). Even in this early work Heda’s skill at painting textures is evident. A more balanced composition is achieved in another Still-life (1629; The Hague, Mauritshuis) and in the Breakfast Table (1631; Dresden, Gemaldegal. Alte Meister), in both of which the objects, set against a neutral background, are linked by a strong diagonal. The Mauritshuis still-life also gives an early indication of Heda’s interest in painting the effects of light. In 1631 he became a member of the Haarlem Guild of St Luke (of which he served as deacon on several occasions after 1637). Dutch painter. He was a still-life painter, who, like Pieter Claesz., is noted for his monochrome breakfast-pieces, which are, however, more opulent than those of Claesz. Heda’s earliest dated work is a Vanitas (1621; The Hague, Mus. Bredius), which shows a still-life from a high viewpoint, composed of various objects bearing vanitas associations (e.g. a bowl of glowing embers, smoker’s requisites, an overturned glass and a skull); the colouring is in brownish-grey tones and represents one of the earliest examples of a Dutch monochrome still-life (‘monochrome’ refers to the range of tones, rather than of colours). Even in this early work Heda’s skill at painting textures is evident. A more balanced composition is achieved in another Still-life (1629; The Hague, Mauritshuis) and in the Breakfast Table (1631; Dresden, Gemaldegal. Alte Meister), in both of which the objects, set against a neutral background, are linked by a strong diagonal. The Mauritshuis still-life also gives an early indication of Heda’s interest in painting the effects of light. In 1631 he became a member of the Haarlem Guild of St Luke (of which he served as deacon on several occasions after 1637).
Pieter Claesz (c. 1597-1660)He was born in Berchem, Belgium, near Antwerp, where he became a member of the Guild of St. Luke in 1620. He moved to Haarlem in 1621, where his son, the landscape painter Nicolaes Pieterszoon Berchem was born.[1] He and Willem Claeszoon Heda, who also worked in Haarlem, were the most important exponents of the "ontbijt" or breakfast piece. They painted with subdued, virtually monochromatic palettes, the subtle handling of light and texture being the prime means of expression. Claesz generally chose objects of a more homely kind than Heda, although his later work became more colourful and decorative. Claesz's still lifes often suggest allegorical purpose, with skulls serving as reminders of human mortality. The two men founded a distinguished tradition of still life painting in Haarlem. Picture is in the Vanitas style, emphasizing the vanity and transience of life
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Pieter Claesz--Still Life with Oysters. C. 1633. Staatliche Kunstsammlungen Kassel (b Burgsteinfurt, Westphalia, c. 1597; d Haarlem, 1660). Dutch painter of German birth. He apparently spent his entire career in Haarlem, where he specialized in still-life paintings. Well over 100 works survive, dating from 1621 to 1660. Most of his pictures are dated and monogrammed PC. Since those initials were shared by the Antwerp still-life painter CLARA PEETERS, several attributions are disputed.
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![Pieter Claesz (c. 1597-1660)He was born in Berchem, Belgium, near Antwerp, where he became a member of the Guild of St. Luke in 1620. He moved to Haarlem in 1621, where his son, the landscape painter Nicolaes Pieterszoon Berchem was born.[1] He and Willem Claeszoon Heda, who also worked in Haarlem, were the most important exponents of the "ontbijt" or breakfast piece. They painted with subdued, virtually monochromatic palettes, the subtle handling of light and texture being the prime means of expression. Claesz generally chose objects of a more homely kind than Heda, although his later work became more colourful and decorative. Claesz's still lifes often suggest allegorical purpose, with skulls serving as reminders of human mortality. The two men founded a distinguished tradition of still life painting in Haarlem. Picture is in the Vanitas style, emphasizing the vanity and transience of life](http://media-cache2.pinterest.com/upload/287526757429750925_Kb9b1NOe_b.jpg)
