Osias Beert remained unknown for many years before he was brought out of oblivion in , when the still life became very sought after by art-lovers and collectors. Like Georg Flegel in Germany, Osias Beert is one of the leading figures in the early days of still life painting in Flanders. Little is known about his life: he may well have been the pupil of the painter Andries van Baesrode in , after which he became a master of the Guild of St. Luke in Antwerp in He married Margaretha Ykens in and had 12 children, including Osias Beert II. He was known to have six apprentices and in addition to being a painter, he was also known as a cork merchant and lived in the fishermen's quarter. Paintings of breakfasts, floral compositions and still lifes of fruit were his speciality. His paintings are composed of a juxtaposition of food, crockery or precious trinkets on the slanted surface of a table. In order to show the elements in their entirety, he arranges them on various planes. An archaic frontal and distributive presentation, the careful execution of a masterful realism, a dark abstract background, and bright and smooth colours: these are all the characteristics that make Osias Beert t
Rendering the Surface: Representing Lacquerware in Early Modern European Paintings
Published: 19 May - Cheng He
The painting reproduced as Figure 1 was created by one of the most highly regarded still life painters of his time: the Flemish Artist Osias Beert the Elder (). The scene is filled with a rich array of food and fine utensils: a glistening dish of oysters, crusty bread, exquisite glasses with wine, wooden boxes, a cup of chestnuts and a few handfuls of figs in the left corner. The receptacle for the figs is more difficult to make out. The dark surface suggests a more mysterious material. Would you know how it was made? Would you know what its black and gold surface represented?
Figure 1: Osias Beert the Elder, Still life, first quarter of the 17th century, oil on panel, Museo del Prado, Madrid, 43 x 54 cm.
It is, in fact, a lacquer cup. This means that the surface was varnished with a glue-like material, applied in many layers, eventually providing a visually dazzling surface. From the early sixteenth century, lacquerwares made in Asia were increasingly brought to Europe and highly valued for their quality. For early modern Europeans, this material was exot
CODART, Dutch and Flemish art in museums worldwide
My interview with Christopher Atkins, Van Otterloo-Weatherbie Director of the Center for Netherlandish Art at the Museum of Fine Arts in Boston, takes place in early October, during one of the most tumultuous years imaginable; as museums across the world have been forced to close their doors and adjust to a very different reality. And yet, even in the midst of this crisis, institutions and individuals have taken bold steps to reimagine the future of the sector – exploring digital frontiers, diversifying their narratives, and embarking on alternative models for collaboration.
In the field of Dutch and Flemish art, the Center for Netherlandish Art undoubtedly has one of the most ambitious agendas. The Center was founded in through a major gift from Rose-Marie and Eijk van Otterloo, and Susan and Matthew Weatherbie. Although the project began in the pre-Covid era, the Center has since gained new significance as a space for bringing people together, and supporting professionals in the field as well as the wider community. As has become standard in the age of Corona, Christopher agrees to meet with me over Zoom. Christopher has bee
Artichaut, fruits et coupes
Osias Beert est un peintre flamand né dans la région d’Anvers en Promu maître de la guilde de Saint-Luc, corporation de peintres, quelques années avant de mourir en , il est considéré comme l’un des plus remarquables maîtres de natures mortes des Pays-Bas méridionaux du XVIIe siècle. Le contexte religieux qui prévaut alors pousse les artistes à se tourner vers une clientèle laïque et à répondre à des commandes de tableaux de chevalet. Au-delà de la simple délectation, la représentation d’un paysage ou d’une nature morte s’avérait un moyen subtil de promouvoir la réflexion sur le sens de la vie voire sur la spiritualité. Fleurs, Fruits, vase et autres objets est une composition qui obéit aux règles en usage dans la peinture d’objets du XVIIe. Sur un arrière-plan uniforme se détache un vase en porcelaine chinoise d’où émergent des tulipes qui témoignent à leur façon de la « Tulipomania » qui sévit dans les Provinces-Unies au XVIIe siècle. Symboles de l’orgueil ou du luxe, ces fleurs apparaissent dans toute leur fragilité, comme en témoigne le pétale tombé, tandis qu’à leur façon les papillons et libellules illustrent élégamment la précarité de la vie
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