Dutch Still Lifes at LACMA

I joined a class at the Los Angeles County Museum of Art led by Mary Lenihan, Director of Adult Programs on Dutch Still Lives.  She led us to the third floor galleries in the Ahmanson Building to view 17th century paintings.  First we look at Italian paintings of the era and she pointed out the religious subject matter.  Then we looked at the Dutch paintings of the same time that were mostly of household life of the new middle class in Holland.

The Dutch economy was booming based on world wide trade.  This led to a rising merchant middle class that desired beautiful art in their homes.  Also, since the Protestant Reformation, the Dutch rejected most religious paintings, seeing them as idolatry.

One of the favorite types of paintings of the era were still lifes. LACMA has an impressive collection of them.

"Banquet Still Life," 1667 by Abraham van Beyeren, Northern Netherlands, 1620=1690
Ostentatious still lifes such as this painting celebrated the prosperity of Holland.  We learned that lobsters were very plentiful at the time but the luxury objects displayed on a marble table spread with a Turkish rug with the fresh fruit, silver tray shows signs of wealth.  This is in conflict with the Calvinist puritan culture that frowned on ostentation.  The Dutch also showed reference to Christianity with the inclusion of bread, grapes (wine) and a challis.  The Dutch paintings also show the passage of time and that time is fleeting...we all die, in the presence of a dead mouse, insects, rotting food and the food almost sliding off the table.

"Still Life with Herring, Wine and Bread," 1647 by Pieter Claesz, Northern Netherlands, 1596-1660.
The bread and wine symbols are evident along with a peeled lemon and almost falling food.  A large salt container is also a sign of opulence as salt was valuable and the method for storing food.   

"Still life with Oysters and Grapes," 1653 by Jan Davidsz. de Heem, Northern Netherlands, 1606-1684,
Note the wine and the bread, the butterfly on the left and ants on the table...time passing.

"Tobacco Still Life," 1637 by Willem Claesz. Heda, Northern Netherlands, 1594-1680.vessels, In this paintings, clay pipes, a crockery brazier, a tobacco box and matches lied scattered on a table next to various drinking vessels.  This shows the popular middle class interest in smoking with a glass of beer. 

"Still Life with Cheeses, Artichoke, and Cherries," 1625 by Clara Peeters, Southern Netherlands, 1594-1640.
The description next to this painting states that Clara Peeters was one of few women artists from that period.  The play of geometric forms, light reflections and texture of objects was very modern for the time.  The cherry pit and slice of artichoke suggest someone is present.  

"Flowers in a Glass Vase," 1671 by Dirck de Bray, Northern Netherlands, 1635-1694.
Note the drooping flowers and those that have fallen on the table.

Since we were in the neighborhood, Mary Lenihan talked about this painting by Rembrandt van Rijn, 1606-1669, "The Raising of Lazarus," 1630-32.  Rembrandt was trained as a history painter.  In this painting he used dramatic gestures and light to convey the miracle.  This Baroque style of lighting, action and detail is shown with the commanding gesture of Christ, and the astonished reactions of the witnesses.  The light in the cave is coming from the left and illuminates the young woman.