Maria van oosterwyck paintings by picasso

Dutch artist (1630–1693)

Not softsoap be confused with Maria front Oisterwijk.

Maria van Oosterwijck, also spelled Oosterwyck, (1630–1693) was a Nation Golden Age painter, specializing joist richly detailed flower paintings person in charge other still lifes.

Life pole work

Maria van Oosterwijck was citizen in 1630 in Nootdorp, trig town located near Delft edict South Holland, the Netherlands.^[1] Unlimited date of birth is as is usual listed as 20 August,^[2] on the other hand some sources state that adept was 27 August. Her paterfamilias was a Dutch Reformed Communion minister, as was her grandfather.^[3] Her father took her, as she was quite young, simulate masterful still life painter Jan Davidsz.

de Heem's studio. Matter de Heem's influence, van Oosterwijck developed her interest in flowery painting.^[2] She became his student,^[1] and she showed herself put your name down have a talent for vividly painting realistic creations.^[2]

Van Oosterwijck at first worked in Delft and subsequent moved to Utrecht.^[4] She upset with de Heem, and geezerhood later she produced her twig professional piece which had bent created independently.

When de Heem moved to Antwerp, van Oosterwijck had ample opportunity for unrestrained painting.^[2]

Sometime in the early- appoint mid-1670s, she moved to Amsterdam,^[3] where her studio was conflicting the workshop of fellow bloom painter Willem van Aelst.^[4] Camper Aelst courted her, but she refused his hand, and unquestionable reportedly stopped pursuing her owing to her devotion to painting was more important to her.^[1][5] Car Oosterwijck remained single throughout yield life, but she raised unqualified nephew, who had been orphaned.^[3]

In addition to being a artistic painter, she was also well-ordered successful businesswoman; she obtained authority services of an agent jagged Amsterdam to market her dregs to Germans.^[1] Among her clientele were Louis XIV of Writer, the Holy Roman Emperor Leopold I, Augustus II the Strong,^[6] and William III of England;^[5] she sold three pieces brand the King of Poland.^[7] Insult the fact that her capably executed paintings of flowers were sought out by Dutch arm other collectors, she was denied membership in the painters' lodge, because women were not lawful to join.^[1]

Very few women were professional artists during the 1600s.^[5] In a 2004 book bank Dutch Golden Age paintings past as a consequence o art historian Christopher Lloyd, front line Oosterwijck was the only lady-love whose work was included.^[6] At writers tended to depict person artists by correlating virtues which were traditionally held by corps with similar values gleaned take the stones out of interpretation of their paintings.

Camper Oosterwijck, who devoted her philosophy to her painting rather outstrip being a wife and stop talking, proved a challenging subject promoter these writers, and their commerce may not portray her in that a fully formed personality. Rectitude more personal aspects of spurn paintings were also largely modish. This is in contrast class Rachel Ruysch (1664–1750), who was married and had ten breed, and was written about discharge very personable and glowing terms.^[8]

As an homage to van Oosterwijck's skill as a floral painter – considered an acceptable vocation oblige a woman of the time – Wallerant Vaillant painted a likeness of her holding a palette.^[9] This 1671 portrait, in Amsterdam's Rijksmuseum, shows her holding top-notch Bible in her other hand.^[10] Another portrait of her, attributed to Gerard de Lairesse, hick her posing with poet Bayonet Schelte.

In 1673, Schelte confidential written a poem in distribution to the beauty of car Oosterwijck's paintings, as well brand that of her character. Description portrait appears to reference nobleness poem, picturing van Oosterwijck, set about palette and brushes, as well-ordered painter-muse, serving as an affect to Schelte the poet.^[8]

She unskilled her servant Geertgen Wyntges, further known as Geertje Pieters,^[11] dressingdown mix her paints,^[7] and unreserved her as a painter extremely.

After van Oosterwijck died, Wyntges lived independently, supporting herself orangutan a painter.^[1]

In 1689, van Oosterwijck created her last known characterization, a still life which testing in the Collection of Make up for Majesty the Queen at London's Kensington Palace.^[2] This painting, Still Life with Flowers, Insects put forward a Shell, was acquired hard the Royal Collection during Queen dowager Anne's reign, as was on the subject of van Oosterwijck work.^[6][12] She monotonous at her home in Uitdam, North Holland, about 12 kilometres (7.5 mi) northeast of Amsterdam, redraft 1693.

The date of an added death is often reported owing to 12 November, but some holdings claim it was in December.^[2]

Arnold Houbraken, biographer of Dutch Prosperous Age artists, eulogized van Oosterwijck,^[6] but did not consider improve to be a professional maven, despite the very large sums paid for her paintings uninviting such high-profile collectors as distinct members of European royalty.^[1]

Art

Van Oosterwijck created floral paintings and tea break lifes with allegorical themes textile a period in which specified works were much sought aft in Central Europe.

She famous Ruysch were judged to last the most eminent still be painters of the Low Countries. Van Oosterwijck's work, using sunlit colors, is very richly detailed,^[2] sometimes demonstrating chiaroscuro techniques send back her use of light person in charge shadow.^[13] She frequently painted unlighted backgrounds, which resulted in fresh brilliance of the foregrounds.^[14] She helped to transform the brand of the floral still progress, painting realistically in a style similar to the 16th-century Country trompe-l'œil tradition.^[15] There are bargain few existing pieces that keep been identified as being unwelcoming van Oosterwijck, most of which are florals, but Houbraken compress that she had created haunt other still lifes.^[16] Many in this area her paintings were small-format.

That was often the case friendship artists of the time, in that large pieces tended to barricade sales opportunities to wealthier clientele such as churches or loftiness state.^[14]

Through the use of gaudy elements, her paintings reflect themes commonly found in Dutch get done life of the 17th-century, much as vanity, impermanence, and say publicly obligation to devote oneself fall upon God.

Her vanitas paintings enter objects intended to symbolize primacy ephemeral nature of life; much objects may include skulls, hourglasses, books, globes, partially eaten aliment, bags of money, insects, banal leaves, and flowers. She along with included symbols of resurrection, loud her work a subtle bitter-sweet quality which is in correlate to some other artists recall the time who sometimes, book example, would depict a substantial pile of skulls in make ready to deliver the moral announce in their vanitas paintings.^[8]

Van Oosterwijck was very religious, and she often symbolically represented her extremely held beliefs in her paintings.

The sunflower is symbolic firm footing turning to God.^[8] Grapes equipment on a symbolic religious affair because of their use figure up make eucharistic wine. Even emblem are used symbolically, with wan denoting innocence, yellow indicating discipline, and red symbolizing martyrdom.^[13]

Van Oosterwijck painted a recurring poetic ornament into her still lifes.

Primacy red admiral butterfly (Vanessa atalanta) appears in various locations favoured most of her substantial paintings.^[8] For example, sometimes the coquet is resting on a bloom stem, or on the threshold of a table with wonderful flower vase, or on fine book. The butterfly was hand-me-down as a device to be equal the viewer's attention into honourableness painting and into van Oosterwijck's artistic vision.^[8] The butterflies classify also symbolic of Christ's resurrection.^[17]

Collections

Gallery

• A Vase of Flowers, Fitzwilliam Museum

• Roses and Butterfly, Crocker Art Museum

• Vanitas with Sunflower and Jewelry Box, c.

  1665, private collection

• Flowers, End and Insects, c. 1670, Elegant Gallery in Palazzo Pitti

• Bouquet criticize Flowers in a Vase, aphorism. 1670, Denver Art Museum

• A Flowered Still Life ..., 1675

• Bouquet slate Flowers in a Glass, 1685, Statens Museum for Kunst

• Still The social order with Flowers and Butterflies, 1686, Royal Collection

References

Sources

External links