Pieter Claesz
Pieter Claesz (* 1596/1597 in Berchem, near Antwerp in the Spanish Netherlands, † prior to January 1, 1661 in Haarlem, The Netherlands) was a Dutch still life painter of the Baroque period and is considered one of the most important representatives.
Life and work
Pieter Claesz was born around 1596/1597 and came from Berchem, near Antwerp. The date of first marriage is unknown; his wife's name was probably Hillegont. A son of this marriage, Nicolaes Pietersz. Berchem was also a painter, but turned to the Italianate landscape painting and worked in Amsterdam later.
His apprenticeship completed Claesz probably in Antwerp. 1621 he moved to Haarlem, a prosperous city with a wealthy, striving for artistic heritage middle class. This year, the number of its dated and signed works, let the whole quite recognize a stylistic development begins, but his subjects are governed solely by the " banketje ," the theme of the dinner table. The catalog includes about 250 paintings. Similarities of the earliest paintings still exist with life style of the Antwerp painter Clara Peeters and Osias Beert; but probably he knew the Haarlem still-life painter Nicolaes Gillis, Floris van Dyck and Floris van Schooten. It was not until 1634 is Pieter Claesz as a member of the Haarlem Guild St.Lukas in which the painters were joined together detectable. He completed a second marriage 1635th His artistic success was enormous. No other painter so many images are detected in the Haarlem estate inventories of the 17th century.
Its believed to be novel image constructions made him one of the most innovative still-life painter, so it 1628 Samuel Ampzing emphasized in his poem price on the city of Haarlem. The hitherto conventional dark background he brightened in his photographs from 1627 and soon after he also followed the general trend of Dutch painting from the monochrome, that - not only in monochrome Haarlem still life painting - a palette of muted, according to gray, brown and ocher toned-down colors preferred. Serious competition grew Pieter Claesz in Haarlem until 1628 with his peers Willem Claesz Heda, the strongly oriented towards Pieter Claesz and closely followed him in all innovations. In the 1640s, the increased " baroque " elements of his painting: the arrangement of motifs is theatrical, the color enriches something again, the light accents full effect and the vessels shown splendid. The economic decline of Haarlem in 1640 also affected the productivity of the painter in his last decades of life.
The design canon of the painter learned in the course of his work only few changes: The selected Dinnerware and dishes stand out from the mundane rather from and do not reflect the everyday dining table. Ceramic and metal vessels provide opportunities for virtuosic material effects; generate protruding or hanging down over the front edge of the table objects nearsightedness, a leading edge of a table in the background spatial depth. Vanitas elements in many individual motifs are not to be overlooked.
Works
- Selection, in chronological order
Still Life, Vanitas (1630 ); Mauritshuis
Still Life ( 1633)
Still life with roman silver and shell ( 1635) Gemäldegalerie in Berlin
" monochrome " Still Life ( 1644), Private Collection