Bouquet of Flowers in a Stone Niche

From: €15,00

Loading Updating cart...

Ambrosius Bosschaerts the Elder (Dutch, 1573 - 1621)

Blomsterbuket i en stenniche, 1618,  Olie på kobber

Man kan næsten dufte buketten og mærke duggens friskhed mod ansigtet. Blomsterbukettens slagskygge tegner en bugtet kontur på stennichens runding, hvor vasen står.

Øjenbedrag
Nichens arkitektoniske indramning følger maleriets egen dimensionering, og hvis det ikke var for den kraftige prydramme, kunne man ved et flygtigt blik tro, at det var den virkelige verden. Øjenbedraget eller trompe l’oeil-effekten er forstærket ved en gul rose, der ligger ved siden af vasen og rager ud over stennichens kant.

Blomster som selvstændigt motiv
I kølvandet på en række faktorer - såsom calvinisternes forkastelse af kirkeudsmykninger og borgerskabets øgede købekraft - blev en række nye motivtyper introduceret på det hollandske kunstmarked i begyndelsen af 1600-tallet.
Ambrosius Bosschaerts var en af de første malere, som gjorde blomster til et selvstændigt motiv inden for den såkaldte stilleben-genre.

Stilleben-genren
I 1600-tallet var genren forbundet med et sæt moraliserende undertoner. Fordi for eksempel tulipanløg var et kostbart investeringsobjekt, var den flerfarvede tulipan et yndet memento mori - en påmindelse om livets korthed.


Bouquet of Flowers in a Stone Niche, 1618, Oil on copper

You can almost catch the fragrance of the flowers and feel the freshness of the dew against your face. The shadow case by the bouquet creates undulating contours on the curves of the stone niche in which the vase is placed.

The optical illusion
The architectural frame provided by the niche follows the dimensions of the painting itself, and were it not for the heavy ornamental frame one might mistake it for a real niche at a glance. This optical illusion or trompe l’oeil effect is accentuated by a yellow rose lying next to the vase, extending beyond the edge of the stone niche.

Flowers a motif in its own right
In the wake of a number of factors - e.g. the Calvinist rejection of church decoration and the greater wealth of the middle classes - a number of new themes and subjects were introduced on the Dutch art market in the early 17th century. Ambrosius Bosschaerts was one of the first painters to make flowers a motif in its own right within the still life genre.

The still life genre
During the 17th century the genre was associated with a set of moralising undertones. For example, tulip bulbs were costly investment objects, so multicoloured tulips were frequently used as a memento mori - a reminder that life is short.

Details

The prints are individually crafted in heavy duty 280 gram Museum Quality Art Print paper.

Ordered framed the artwork is custom mount, cut perfectly to your image.
Delivered fully strung, ready for hanging.

Created from high-quality wood, milled with simple clean lines and presented with a satin finish.
This frame has a square profile measuring 20mm (front face) by 23mm (depth from wall).

Available in black or natural.