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You must join the virtual exhibition queue when you arrive. If capacity has been reached for the day, the queue will close early. Still-life painting as an independent genre or specialty first flourished in the Netherlands during the early s, although German and French painters for example, Georg Flegel and Sebastian Stoskopff; In the latter work, the pocket watch , which symbolizes the fleeting nature of earthly pleasures, may be considered more of an intellectual conceit than a sober warning against the desire for material things like the objects depicted or the painting itself.
In general, the rise of still-life painting in the Northern and Spanish Netherlands mainly in the cities of Antwerp, Middelburg, Haarlem, Leiden, and Utrecht reflects the increasing urbanization of Dutch and Flemish society, which brought with it an emphasis on the home and personal possessions, commerce, trade, learning—all the aspects and diversions of everyday life. Floral still lifes were especially prominent in the early s, and in their highly refined execution and in their subjects and symbolism were addressed to a cultivated audience.
For many courtly collectors for example, Emperor Rudolf II in Prague and wealthy merchants, a flower picture was part of a private domain that included a garden with rare specimens which occasionally cost more than paintings of them , colored drawings or watercolors of rare tulips and other unusual flowers, and a small library of botanical books and prints.
While floral still lifes were especially popular in Antwerp Jan Brueghel the Elder and Younger were among the main practitioners; Aertsen returned to his native Amsterdam in about and inspired Dutch painters such as Joachim and Peter Wtewael to paint similar works. In the s and s, when Amsterdam became the social, political, and financial capital of the Netherlands, still-life painters such as Van Beyeren and Willem Kalf In these works and later flower pictures by De Heem, Willem van Aelst, Rachel Ruysch, and the highly influential Jan van Huysum, the emphasis upon aesthetic appeal and decorative function evident in almost all still-life painting is more conspicuous than ever before.
