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| BEYEREN,
Abraham van/ ARTISTS 1650-1899/ ART
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Dutch
painter (b. 1620, Den Haag, d. 1690, Overschie)
Dutch
painter (also spelled Beijeren or Beieren), little regarded in his day
but now considered one of the greatest of still-life painters. He
initially specialized in fish subjects, but around the middle of the
17th century he began to devote himself to sumptuous banquet tables
laden with silver and gold vessels, Venetian glassware, fine fruit,
and expensive table coverings of damask, satin, and velvet. Works of
this kind, in which he was rivalled only by Kalf, gave him even greater
opportunity than his fish pieces to demonstrate his ability to show
the play of light on varied surfaces and organize forms and colours
into an opulently blended composition. He worked in various towns
before settling in Overschie in 1678.
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photography and food |
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The
Breakfast
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Oil on canvas, 74 x 60 cm
Pushkin Museum, Moscow
Mauritshuis, The Hague |
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Still-life with Lobster
1653
Oil on canvas, 125,5 x 105,1 cm
Alte Pinakothek, Munich |
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Still-life with
Fishes
Oil on canvas, 125 x 153 cm
Gemäldegalerie, Dresden |
| Van Beyeren’s fish
pieces seldom attract as much attention as his sumptuous banquet tables.
Most people would rather study a picture of an exquisitely laid table than
one of a mess of fish. But van Beyeren’s celebrations of the abundance of
the sea are as remarkable as his festive dinner tables. In them he
sometimes includes a glimpse of a beach in the background. The fish and
crustacea he painted always look wet – they appear to have been just taken
from the water – and the mother-of pearl greys of his creatures of the
sea, their browns, silvers, and white are as delicate and finely felt as
the colour accords in his more showy pieces. |
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Banquet
Still-Life with a Mouse
1667
Oil on canvas
County Museum of Art, Los Angeles |
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| Abraham van Beyeren,
the third outstanding master of pronk still-lifes, like Jan Davidsz de Heem,
who seems to have inspired him, painted sumptuous compositions of lobsters,
fruit, and expensive tableware, and included rich draperies and columns to
enhance the splendid effect. Van Beyeren, however, hardly ever overloads his
compositions in the way that de Heem does; on the other hand, he seldom
shows Kalf’s moderation. At his best, he is a subtle colourist who works in
a light key, with an appealing free and liquid touch. A soft silvery light
unifies his fine colour harmonies, anticipating the palette of
eighteenth-century painters. |
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