During the 1640s, Kalf further developed the banketje into a novel form of sumptuous and ornate still life (known as pronkstilleven), depicting rich groupings of gold and silver vessels. Scattered small losses are found overall, with a larger loss in the center of the Seville orange. Life with a Chinese Porcelain Jar', 1669 See T. Volker, Porcelain and the Dutch East India Company, as Recorded in the Dagh-Registers of Batavia Castle, Those of Hirado and Deshima, and Other Contemporary Papers, 1602–1682 (Leiden, 1954), 22; and Clare Le Corbeiller, China Trade Porcelain: Patterns of Exchange, Additions to the Helena Woolworth McCann Collection in the Metropolitan Museum of Art (New York, 1974), 1–4. 'Still Life with Drinking Horn', 1653 Closed, Sculpture Garden (Haarlem, 1740; reprint, Soest, 1969), 266–267: “De vermaarde Kalf, die veel heerlyke en uitmuntende voorbeelden daar van heeft nagelaaten, heeft in deze zeer uitgemunt, en boven allen den hoogsten lof verdiend.”  (The famous Kalf, who left us many delightful and excellent examples of [still-life painting], greatly excelled in this, and earned the highest praise of them all.) 4. The same objects often appear in different still lifes. Willem Kalf settled in Amsterdam in 1653 following his return from Paris in 1646 and a period in Rotterdam and Hoorn in 1651, having married in the latter city. Contact Us. Because this particular carpet is only partially visible, and because it is possible that the artist has taken some license in its design, its country of origin is difficult to determine. Still Life with Ewer, Vessels, and Pomegranate Willem Kalf (Dutch, 1619 - 1693) 104.5 × 80.6 cm (41 1/8 × 31 3/4 in.) He expressly compares the painting to four other works: three paintings dated 1659, his nos. ', 'if I had to choose between the golden vessels or the picture,......I would choose the picture. (Haarlem, 1740; reprint, Soest, 1969), 266: “Het is die welke in allerhande kostelykheden bestaat, als goud, zilver, kristalle en andere glazen, paerlen, edelgesteentens en paerlemoer, gemeenlyk Vanitassen genaamd.” ([Another type of still-life painting], containing all kinds of precious items, such as gold, silver, crystal- and other glasses, pearls, precious stones and mother-of-pearl, commonly called Vanitassen.) Back To List. [3] In 2010, the painting was treated to remove discolored varnish, inpaint, and overpaint and to bring the tear back into plane. Title: Still Llife with a Roemer Creator: Kalf, Willem Date Created: 1659 Physical Dimensions: h49.9 cm x w42.4 cm Provenance: Private collection, France, c.1957; C. Benedict Gallery, Paris; S. Nijstad Gallery, The Hague; purchased with the support of the Rembrandt Association and the Friends of the Mauritshuis Foundation, 1957; on long-term loan to the Frans Hals Museum, Haarlem, since 2004 That rich subject matter naturally appealed to the wealthy members of Dutch society in the 17th century, and his work became known as pronkstilleven, which in Dutch means, “opulent still life painting.” Willem Kalf was born in 1619 into a fairly well-off merchant family in Rotterdam, and eventually moved to Paris to began his artistic career. 4th St and Constitution Ave NW [3] The additions were analyzed by the NGA Scientific Research department using air-path X-ray fluorescence spectroscopy and confirmed to be of a later date. Arthur K. Wheelock Jr., “Willem Kalf/Still Life/c. Pieter Claesz creates an amazing vanitas in 1628. The compositional and stylistic characteristics of this work are so similar to those of other Kalf paintings from the early 1660s that I cannot agree with Claus Grimm’s assessment that the Gallery’s painting is the work of Jurriaen van Streek (1632–1687). The bowl in this painting is known as a clapmuts in the Netherlands. They were imported to the Netherlands from Persia and India by the Dutch East India Company. [1] Both thin layers are brush applied and leave the weave pattern prominent. Still Life with a Silver Jug and a Porcelain Bowl, Willem Kalf, 1655 - 1660 oil on canvas, h 73.8cm × w 65.2cm More details Willem Kalf did not paint the most common type of Asian objects circulating in the Dutch Republic, but generally chose rare examples that were already decades old. It is unclear if Kalf intended for this glass to be seen or if he had painted it out and it was subsequently uncovered by a particularly aggressive restoration at some point in the painting’s history. His choice of still lifes as subject matter dates to a stay in Paris (late 1630s–1646). Most of it was brought by ships belonging to the Dutch East India Company, which had been founded on March 20, 1602. Nevertheless, according to De Lairesse, Kalf did not include objects in his paintings to convey a specific meaning or moral. His still lifes depict objects that are rendered in great detail and which luminously glow out of dark backgrounds. 4. It features a vibrant red lobster, a delicacy that characterizes the opulent lifestyle of its owner. 7th St and Constitution Ave NW As is evident from examining the full extent of his oeuvre, Kalf’s style developed in quite distinct phases that parallel, to a certain extent, his periods of residence in Rotterdam, Paris, and Amsterdam. See T. Volker, In a document of 1672 Kalf appeared as a witness before a notary in Amsterdam along with a number of other artists, including. Possibly Joseph Daniel Böhm [1794-1865], Vienna; possibly (his sale, Alexander Posonyi, Vienna, 4 December 1865, no. See: Art Definition, Meaning. WILLEM KALF (1622-1693) The case concerned the evaluation of Italian paintings. They were imported to the Netherlands from Persia and India by the Dutch East India Company. Note: Exhibition history, provenance, and bibliography are subject to change as new information becomes available. De Lairesse writes that paintings of the type that Kalf executed, which include “expensive items, such as gold, silver, crystal and other glasses, pearls, rare stones, and pearl necklaces,” are commonly called Vanitassen, or vanitas paintings. Stay up to date about our exhibitions, news, programs, and special offers. Willem Kalf was born in Rotterdam, worked for a while in Paris, before he finally settled in Amsterdam. There’s red and white wine, adding to a sense of indulgence and plenty – a sense also reflected in rich colours, offset by the dark background. Translated by Henriette Rahusen. What makes it different from other still life paintings I have seen is the expensive nature of the objects and the strong directional lighting. See Claus Grimm, Stilleben: Die niederländischen und deutschen Meister (Stuttgart, 1988), 223, repro. [7]  [7]Gérard de Lairesse, Groot schilderboek, 2 vols. Porcelain made in China during the reign of Wan Li (1563–1620) was highly valued in the Netherlands. The overall light for the picture comes from the top left, but he has heightened and dampened certain areas to control the effects of texture, pattern, tone and color within the composition. The company of Roman archers who carried out his execution left him for dead, but he survived and was rescued by Saint Irene of Rome. For a fuller discussion of carpets in Dutch art, see Onno Ydema, “Carpets in 17th-Century Dutch and Flemish Painting,” in The European Fine Art Fair (Maastricht, 1988), 15–28; and especially Onno Ydema, Carpets and Their Datings in Netherlandish Paintings, 1540–1700 (Zutphen, 1991). 'Still Life with a Chinese Porcelain Jar' is not simply a painting of luxurious objects; it is a luxurious object in itself, even more desirable than the items it depicts. His paintings advertised the lifestyle of the merchant classes in seventeenth century Holland. Willem Kalf travelled to Paris and spent time in the circle of the Flemish artists in Saint-Germain-des-Prés. 776 (October 1976): 121. 1660,” Dutch Paintings of the Seventeenth Century, NGA Online Editions, https://purl.org/nga/collection/artobject/12206 (accessed December 09, 2020). Lucius Grisebach, Willem Kalf, 1619–1693 (Berlin, 1974), 114–115, 258, no. The bowl in this painting is known as a, These fanciful embellishments were painted out during the 2010 conservation treatment (see the Technical Summary). Ornamental and rich, Willem Kalf's paintings were very sought after by the wealthy 17th century Dutch noblemen. 95–97, and an undated painting in the Detroit Institute of Arts, his no. He subdues the tones of the Venetian glassware (probably Dutch copies) whose transparent forms are picked out of the darkness with reflections and refractions of light. (Haarlem, 1740; reprint, Soest, 1969), 268: “Hoewel wy hier voor gezegt hebben, dat de vermaarde Kalf in de Stillevens boven anderen heeft uitgemunt, heeft hy nochtans, zo min als zyne voorgangers en navolgers, reden van zyne verbeeldingen weeten te geeven, waarom hy dit of dat vertoonde: maar slechts het geen hem in den zin schoot (als een porcelyne pot of schaal, een goude bokaal, een fluit of roemer met wyn, en daar in een citroenschil hangende, een horologie, paerlemoere hoorn op een goude of zilvere voet, een zilvere schaal of bord met persikken, of wel opengesnedene chinaasappelen of citroenen, een tapyt, en diergelyke gewoonlyke dingen) verbeeld, zonder eens zyne gedachten te hebben laaten gaan om iets van belang voort te brengen daar een byzondere zin in stak, of’t geen ergens op toegepast kon worden.”  (Even though we just stated that the famous Kalf was the very best still-life painter, he nevertheless, just as his predecessors and followers never explained the reason for his compositions, why he depicted this or that; but only painted that which fancied him—such as a porcelain pot or bowl, a gold chalice, a flute or roemer with wine, in which dangled a lemon-peel, a pocket-watch, a horn of mother-of-pearls mounted on a gold- or silver base, a silver platter or plate with peaches, or perhaps sliced oranges or lemons, a tapestry, and similar common objects—without ever having considered whether to create something important that had a significant meaning, or that could refer to something.) At this time, realistic representation in art was valued as a measure of artistic quality, but Kalf pushes his image beyond mere technique. (Haarlem, 1740; reprint, Soest, 1969), 266: “Het is die welke in allerhande kostelykheden bestaat, als goud, zilver, kristalle en andere glazen, paerlen, edelgesteentens en paerlemoer, gemeenlyk Vanitassen genaamd.” ([Another type of still-life painting], containing all kinds of precious items, such as gold, silver, crystal- and other glasses, pearls, precious stones and mother-of-pearl, commonly called Vanitassen.). Because this particular carpet is only partially visible, and because it is possible that the artist has taken some license in its design, its country of origin is difficult to determine. 20. Perhaps the praise would not have been forthcoming had he persevered in his first interest: shabby peasant barn interiors and still-lifes of humble kitchen implements, painted during his stay in Paris from about 1640 to 1646. The presence of the Chinese porcelain fruit bowl, tipped at an angle to reveal its decorated interior, is also characteristic of his Amsterdam period. Willem Kalf settled in Amsterdam in 1653 following his return from Paris in 1646 and a period in Rotterdam and Hoorn in 1651, having married in the latter city. The brilliance of his colours suggests the influence of Jan Vermeer (1632-75). overall: 64.4 x 53.8 cm (25 3/8 x 21 3/16 in. Still Life with a Silver Jug and a Porcelain Bowl, Willem Kalf, 1655 - 1660 oil on canvas, h 73.8cm × w 65.2cm More details Willem Kalf did not paint the most common type of Asian objects circulating in the Dutch Republic, but generally chose rare examples that were already decades old. By: tjjodoin88. Willem Claesz Heda (1594-1681) - Breakfast of Crab (1648, Hermitage, St Petersburg) Jan Davidsz de Heem (1606-83) - Still-Life with Lobster and Nautilus Cup (1634), Staatsgalerie, Stuttgart. A large complex tear is present in the upper right quadrant and the background is heavily abraded in this area. The support, a fine-weight, plain-weave fabric, has been lined with the tacking margins trimmed. 776 (October 1976): 121. 1659. [5]  [5]Porcelain made in China during the reign of Wan Li (1563–1620) was highly valued in the Netherlands. 1]   [fig. This painting, with its pyramidal composition set off-center, is one of the purest examples of a compositional format used by Kalf in Amsterdam in the late 1650s and early 1660s. Still Life with a Porcelain Vase, Silver-gilt Ewer, and Glasses LACMA Después de los grandes éxitos obtenidos en Francia, en octubre de 1646 Kalf decidió regresar a Holanda. See Lucius Grisebach, Willem Kalf, 1619–1693 (Berlin, 1974), 193, doc. See more ideas about Dutch still life, Still life painting, Still life. Kalf, who seems to have abandoned painting as a profession to be an art dealer in about 1680, may well have collected Wan-Li porcelain, for he depicted many exquisite pieces in his paintings. Kalf was born into a wealthy patrician family in Rotterdam, where his father was a cloth merchant. For Dutch glass, see Ada Polak, “Glass in Dutch Painting,” Connoisseur 193, no. See T. Volker, Porcelain and the Dutch East India Company, as Recorded in the Dagh-Registers of Batavia Castle, Those of Hirado and Deshima, and Other Contemporary Papers, 1602–1682 (Leiden, 1954), repro. 1682). The double ground consists of a red lower layer and an opaque beige upper layer. For example, you can see the Turkish rug, silver tray and the ornamental knife in several other paintings. See Claus Grimm, Stilleben: Die niederländischen und deutschen Meister (Stuttgart, 1988), 223, repro. His early Indeed, he decided which objects to paint somewhat according to whim and without any preconceived program. 1] before treatment, Willem Kalf, Still Life, c. 1660, oil on canvas, National Gallery of Art, Washington, Chester Dale Collection, 1943.7.8. When the cargo, consisting of more than one hundred thousand pieces of porcelain, was sold in Amsterdam on August 15, 1604, buyers came from all over Western Europe. The case concerned the evaluation of Italian paintings. Translated by Henriette Rahusen. Because this particular carpet is only partially visible, and because it is possible that the artist has taken some license in its design, its country of origin is difficult to determine. Ewer, Vessels and Pomegranate(1640) by Willem Kalf. During that treatment the restoration highlights in the glassware were painted out and the original highlights were reconstructed using the X-radiographs as a guide. The artist’s favorite Chinese porcelain fruit bowl, dating from the Wan-Li dynasty, is tipped at an angle to reveal the blue-on-white decorations that play off so well against the oranges, yellows, and reds of the fruit. The real craze for Chinese porcelain occurred after the capture of Portuguese ships carrying a large cargo of Wan-Li porcelain in March 1603. This ceremonial vessel is a large buffalo horn whose silver mount portrays the martyrdom of Saint Sebastian. During the 1640s, Kalf further developed the banketje into a novel form of sumptuous and ornate still life (known as pronkstilleven), depicting rich groupings of gold and silver vessels. Kalf’s paintings were destined for an elite audience, one that not only took pride in the mercantile prosperity of the Dutch Republic but also had been instrumental in creating that wealth. Most of it was brought by ships belonging to the Dutch East India Company, which had been founded on March 20, 1602. 102, suggests that the Still Life might be identified as the Böhm painting auctioned in Vienna on 4 December 1865. And that’s something that needs to be remembered in the 21st century as well. Although the rarity and fragility of the objects might call to mind questions of transience associated with vanitas painting, these were merely by-products of Kalf’s work, not the driving force behind it. Most of those allegories were the representations of the brevity of life, decay and finally death. Translated by Henriette Rahusen. With its off-center pyramidal composition, this Still Life is a quintessential example of a compositional format that Kalf used in the late 1650s and early 1660s. Paint handling varies according to the surface texture being rendered, from thin opaque layers to richly textured pastes, with glazes confined to carpet details and the dark background. Willem Kalf est un peintre néerlandais, l'un plus grands peintres de nature morte de son époque, né le 3 novembre 1619 à Rotterdam et mort le 31 juillet 1693 (à 73 ans) à Amsterdam. May 25, 2017 - Explore William Wu's board "Willem Kalf 1619-1693", followed by 461 people on Pinterest. (oil on canvas). Conservation of the painting in 2010 revealed that a glass bird with spread wings surmounting the tall flute and extensive scalloping on the glass cup on the right, which were previously visible in the painting, were fanciful additions by an earlier restorer [fig. The three still lifes in the Collection date from his Amsterdam period during which Kalf abandoned the use of large formats typical of his rich and complex Paris compositions and presented his compositions on a smaller scale and with fewer objects. [1] Lucius Grisebach, Willem Kalf, 1619-1693, Berlin, 1974, 258, no. See T. Volker, Porcelain and the Dutch East India Company, as Recorded in the Dagh-Registers of Batavia Castle, Those of Hirado and Deshima, and Other Contemporary Papers, 1602–1682 (Leiden, 1954), 22; and Clare Le Corbeiller, China Trade Porcelain: Patterns of Exchange, Additions to the Helena Woolworth McCann Collection in the Metropolitan Museum of Art (New York, 1974), 1–4. Willem Kalf. Willem Kalf, one of the best-known Dutch painters of still-life compositions. (Haarlem, 1740; reprint, Soest, 1969), 266–267: “De vermaarde Kalf, die veel heerlyke en uitmuntende voorbeelden daar van heeft nagelaaten, heeft in deze zeer uitgemunt, en boven allen den hoogsten lof verdiend.”  (The famous Kalf, who left us many delightful and excellent examples of [still-life painting], greatly excelled in this, and earned the highest praise of them all.) Category: Uncategorized. Willem Kalf was born in Rotterdam, in 1619. 20. Still lifes helpfully reminded viewers of the prosperity of their republic. Kalf was one of the great Dutch masters of still life painting. Gérard de Lairesse, Groot schilderboek, 2 vols. See Gérard de Lairesse, Groot schilderboek, 2 vols. Twisting baroque decoration resonates through each object: the ornamental stems of the glassware, the rippling rim of the silver tray which is repeated in miniature on the lid of the little chronometer or compass, the tendrils of pattern on the porcelain jar, the hand-woven design on the the rug, the marbling on the stone table top and finally, the carefully arranged coil of lemon rind. Throughout the composition Kalf continues to manipulate light and shade to tune the pitch of pattern and texture across the work. In the seventeenth century, they were probably to be found only in the homes of the wealthy because of their high cost. One carpet expert, Mr. Chester Ellis of Kingston, New York, has indicated that he believes it is an Indian carpet (conversation with Mr. Ellis, September 1980). WILLEM KALF (1622-1693) The X-radiographs show broad cusping along the top edge. 100. Willem Kalf Still Life with a Chinese bowl, a Nautilus Cup and Fruit, 1662 “Asia > Amsterdam” at Rijksmuseum, Amsterdam Johannes Vermeer, Girl Reading a Letter by an Open Window, ca. Infrared reflectography at 1.1 to 2.5 microns[2] reveals evidence of a fourth glass. This Wan-Li bowl was a favorite of Kalf’s, possibly because the blues and creamy whites of the interior played off so well against the oranges, yellows, and reds of the fruit. See T. Volker, Porcelain and the Dutch East India Company, as Recorded in the Dagh-Registers of Batavia Castle, Those of Hirado and Deshima, and Other Contemporary Papers, 1602–1682 (Leiden, 1954), repro. The Dutch still-life painter Willem Kalf was one of the Old Masters of the Amsterdam school of Dutch Realism who specialised in luxurious banquet sets known as Pronkstilleven - a species of still life painting, which contained gold, silver and glass vessels. 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