Still life

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For other uses, see Still Life (disambiguation).

William Harnett, The Old Violin (1886)
A still life (plural still lifes [1]) is a work of art depicting mostly inanimate subject matter, typically commonplace objects which may be either natural (food, flowers, plants, rocks, or shells) or man-made (drinking glasses, books, vases, jewelry, coins, pipes, and so on) in an artificial setting. With origins in ancient times and most popular in Western art since the 17th century, still life paintings give the artist more leeway in the arrangement of design elements within a composition than do paintings of other types of subjects such as landscape or portraiture. Still life paintings, particularly before 1700, often contained religious and allegorical symbolism relating to the objects depicted. Some modern still life breaks the two-dimensional barrier and employs three-dimensional mixed media, and uses found objects, photography, computer graphics, as well as video and sound.
Contents
1 History
1.1 Ancient antecedents
1.2 Middle Ages and Renaissance
1.3 Sixteenth century
1.4 Seventeenth century
1.5 Eighteenth century
1.6 Nineteenth century
1.7 Twentieth century and beyond
2 References
3 See also
//
History
Ancient antecedents

Transparent bowl of fruit and vases. Roman wall painting in Pompeii (around 70 AD)
Still life paintings often adorn the interior of ancient Egyptian tombs. It was believed that food objects and other items depicted there would, in the afterlife, become real and available for use by the deceased. Ancient Greek vase paintings also demonstrate great skill in depicting everyday objects and animals. Similar still life, more simply decorative in intent, but with realistic perspective, have also been found in the Roman wall paintings and floor mosaics unearthed at Pompeii, Herculaneum and the Villa Boscoreale, including the later familiar motif of a glass bowl of fruit. Decorative mosaics termed 鎻簃blema, found in the homes of rich Romans, demonstrated the range of food enjoyed by the upper classes, and also functioned as signs of hospitality and as celebrations of the seasons and of life.[2] By the 16th century, food and flowers would again appear as symbols of the seasons and of the five senses. Also starting in Roman times is the tradition of the use of the skull in paintings as a symbol of mortality and earthly remains, often with the accompanying phrase Omnia mors aequat (Death makes all equal).[3] These vanitas images have been re-interpreted through the last 400 years of art history, starting with Dutch painters around 1600.[4]
The popular appreciation of the realism of still life painting is related in the ancient Greek legend of Zeuxis and Parrhasius, who are said to have once competed to create the most life-like objects, history鎶� earliest descriptions of trompe l鎶〆il painting.[5] As Pliny the Elder recorded in ancient Roman times, Greek artists centuries earlier were already advanced in the arts of portrait painting and still life. He singled out Peiraikos, 鎼榟ose artistry is surpassed by only a very few鍖焑 painted barbershops and shoemakers stalls, donkeys, vegetables, and such, and for that reason came to be called the 鎲刟inter of vulgar subjects; yet these works are altogether delightful, and they were sold at higher prices than the greatest [paintings] of many other artists.鎿�/br> Middle Ages and Renaissance
By 1300, starting with Giotto and his pupils, still life painting was revived in the form of fictional niches on religious wall paintings which depicted everyday objects.[7] Through the Middle Ages and the Renaissance, still life in Western art remained primarily an adjunct to Christian religious subjects, and convened religious and allegorical meaning. This was particularly true in the work of Northern European artists, whose fascination with highly detailed optical realism and symbolism led them to lavish great attention on their paintings' overall message.[8] Painters like Jan van Eyck often used still life elements as part of an iconographic program.
The development of oil painting technique by Jan van Eyck and other Northern European artists made it possible to paint everyday objects in this hyper-realistic fashion, owing to the slow drying, mixing, and layering qualities of oil colors.[9] Among the first to break free of religious meaning were Leonardo da Vinci, who created watercolor studies of fruit (around 1495) as part of his restless examination of nature, and Albrecht D榛礶r who also made precise drawings of flora and fauna.[10]
Petrus Christus portrait of a bride and groom visiting a goldsmith is a typical example of a transitional still life depicting both religious and secular content. Though mostly allegorical in message, the figures of the couple are realistic and the objects shown...(and so on)

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