European school (XIX) - Still life

Hello,

I propose an antique, authentic, and rare work that is a fascinating example of the persistence of Dutch tradition at the heart of nineteenth-century Paris. At that time, PARIS, which is under reconstruction under the authority of Baron HAUSSMAN, is the art world’s center. Many painters from Northern Europe bring with them, among other things, their mastery of the chiaroscuro technique and their sensitivity to textures.

This oil on canvas, very realistic, has a pyramidal form. Fruits supported by foliage stand out against a dark, almost monochrome background. Abundant clusters of grapes in multiple colors are treated with a concern for transparency and shine while peaches tinged with red and orange provide support and create a soft, velvety ambiance. Figues are also recognizable by their bloated shapes and purple and green hues. An open pomegranate sits at the center of the work, revealing a quarter of red, textured flesh. A subtly veiled background foliage, some leaves seeming wilted, adds depth and distance to the piece.

Dutch influence is evident in the following techniques:
- the presence of chiaroscuro, also called “tenebrism,” for a dramatic rendering. By imagining interior candlelight, the dark, deep background makes the volumes stand out. This technique recalls the Dutch Golden Age (17th century).
- the rendering of materials. The artist-painter plays with contrasts between the velvety skin of the peaches, a fine matte film on the black grapes, and the waxy appearance of the white grapes: the “bloom.”
- the highly varied color palette. It is both sober and rich, dominated by earthy tones, ochres, and deep greens punctuated by the brightness of the foreground fruits.

In this pyramidal composition hides a deep reflection on time. It offers the eye a solid base representing established order. It symbolizes perfection, also evoking the Holy Trinity in sacred art, which is here transposed to the vegetal realm. This spiritual connotation in a triangular form is a discreet reminder of divine perfection. By organizing the abundance of fruits into a triangular structure, the artist imposes an intellectual and spiritual order in a quest for stability. This pyramidal form, called the “geometry of the living,” is one of the legacies of the Renaissance and Baroque art.

In this chiaroscuro, the fruit pyramid also represents vanity. It reminds us that despite abundance and richness, everything we see is fleeting. The contrast between light on the fruits and the dark background reinforces this idea of fragility in the face of time, thanks to the following symbols:
- the pyramidal structure guides the eye to the summit, highlighting the brilliance of maturity; it represents elevation.
- choosing this stable shape to represent perishable objects creates dramatic tension. This is vanity’s hallmark reflected in a contrast: freezing ephemeral beauty within eternal architecture. It is a way of freezing the beauty of the living world before it disappears.
- this pyramidal structure allows organizing the chaos of nature according to mathematical rules by the golden ratio, thus transforming an accumulation of fruits into an “intellectual” artwork.
- by stacking the fruits on top of each other, the artist creates relief and depth. Without this subtle entanglement, the work would appear “flat.” The great Dutch Masters mastered this art, which is why this unsigned oil on canvas belongs to the Dutch School. It is a homage to the Dutch Golden Age interpreted in the nineteenth century by a Dutch painter nostalgic for that era.

Around 1850, artists like Jan VAN DAEL or members of the SPAENDONCK family had already marked PARIS with their floral and fruit still lifes. This oil on canvas sits in the lineage of specialists who met the Paris bourgeoisie’s demand for elegant works evoking wealth and refinement.

Dimensions of the wooden frame: 68 cm x 59 cm
Dimensions of the canvas: 56 cm x 47 cm

This authentic oil on canvas has been restored for almost two centuries; it has been recently marouflaged by a professional. It remains presentable in good condition with the normal wear of its time, which also gives it “the charm of the old.” It has been cleaned recently, then a UV-protective glossy varnish from Winsor & Newton was applied. The painting is presented in a Louis XV / Napoleon III style frame, finely carved and richly adorned with vegetal motifs typical of the eclectic tastes of the mid-nineteenth century. It features shell motifs, scrolls at the corners, and relief decor. This carved frame has been fully restored and is considered like-new. A patinated antique gilding in the warm “old gold” tone, as well as a pale gold gilding for the rebate, were added to provide a slight contrast and highlight the piece’s precious appearance. The stretcher is original.

The photos shown without any retouching serve as the description.

This restored oil on canvas, which I titled “m-figue mi-raisin,” is ready to be hung. It remains a testament to a great Dutch artist who visited PARIS, a city in expansion and modernization. From 1789 to the early twentieth century, in this capital that became a real artistic hub, no fewer than 1,800 Dutch painter-artists “travellers” are recorded, including Vincent VAN GOGH, but also Johan JONGKIND, Gérard VAN SPAENDONCK, Jacob MARIS, George BREITNER, Kees VAN DONGEN, Piet Mondrian, Théodore LINSYER, etc. These great “Parisian-by-adoption” talents greatly contributed to radiating their culture and techniques worldwide.