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335:), van Utrecht shows an elaborate display of all the foreign and local luxury items, including Chinese porcelain and a parrot, that were available in the Antwerp market. This offers him the opportunity to display his virtuoso skills at rendering all kinds of materials and textures and the reflection of light on various surfaces. In the background there is scene of a man working at a stove stirring a cauldron and moving the bellows. It is clear that van Utrecht intended the composition to be a eulogy of the creative force of fire, which was involved in the production of many of the items depicted in the still life.
221:
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278:) in which a woman shirks away from a young man who is trying to place his hand on her bosom. The pair are standing before a table which is covered with an abundance of baskets of fruit, asparagus, artichokes, cabbages, leeks and poultry. On the left side of the painting a monkey is seen pointing towards the pair from a window. Monkeys were typically symbols of unrestrained lust and the monkey's presence emphasizes the moral message of this kitchen scene. The choice of vegetables and birds reinforces this interpretation.
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135:. The following year van Utrecht married Constancia. The couple had 13 children. Constantia became a painter and poet in her own right. She is believed to have shared the work in her husband's studio and may have painted partial or entire copies and variations of her husband's work. A still life with fruit fully signed by Constancia van Utrecht and dated 1647 is entirely in the manner of her husband.
367:(Sotheby's, 29 May 2003, private collection) dated to 1643 was identified as a work by van Utrecht based on the similarity of the flower bouquet to the signed painting of the vase of flowers. The subject of vanitas as depicted here was unusual for van Utrecht and shows that his role in the development of new types of still life has not been sufficiently recognized in art-historical literature.
408:. The collaborative work with Jan Cossiers (dated 1639, private collection) depicts van Utrecht with his wife Constancia in a kitchen amidst an extensive still life with game, lobster, fish and vegetables. It is not always clear who painted the figures in the large market and kitchen scenes and recently it has been suggested that
305:, 1650). He also relied on Baroque devices, such as a sweeping curtain and background window view, to add movement and depth. These sumptuous still lifes initiated the genre of the pronkstillevens, which was also taken up by painters from the Northern Netherlands. A typical example of a pronkstilleven by van Utrecht is the
50:, i.e. still lifes that emphasized abundance by depicting a diversity of objects, fruits, flowers and dead game, often together with living people and animals. Van Utrecht also painted a number of flower still lifes. He was a regular collaborator with leading Antwerp painters who had been pupils or assistants of
353:
It was not known that van
Utrecht painted flower bouquets until the discovery of a piece depicting a vase of flowers which was signed by van Utrecht and dated 1642. Based on this work, several other flower paintings have been attributed to van Utrecht. His flower paintings clearly show the influence
263:
seems to convey a moralistic tale. The garish attire of the woman in the picture seems to imply she was likely a prostitute. The hanging fish and the forms of some fish hint at an erotic undertone. While the woman is negotiating with the fishmonger she is the victim of a robbery by a young boy who
296:
The elaborate still lifes produced by Frans
Snyders and Adriaen van Utrecht in the 1640s accentuated overwhelming abundance by depicting a diversity of objects, fruits, flowers, and dead game, often in combination with human and animal figures. Adriaen van Utrecht let the objects spill over from the
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relies on the human figures and hanging fish to create the vertical component in contrast to the horizontal element of the table. The diagonals are created through the disposition of the fish but van
Utrecht is less interested in dynamic movement than Snyders and therefore his diagonal lines are
142:
and the Prince of Orange. He could afford to live in spacious dwellings on the Meir in
Antwerp, the most prestigious location in the city. His fortune seems to have declined in the late 1640s, possibly due to ill health and by the time he died in Antwerp in 1652 he had lost most of his wealth.
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painter. The range of still life subjects that he tackled was wide and included scenes of fish, meat and vegetable stalls, kitchen scenes often including figures or living animals adding a narrative element, displays of game in larders or as hunting trophies, still lifes of fish, fruit and
499:. Based on the differences between the modelli and the executed tapestries of the tapestries representing the months of January and February, it is believed that Adriaen van Utrecht made improvements to the animals in van den Hoecke's modelli which were then included in the finished works.
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Van
Utrecht's kitchen scenes often include a male and female figure typically engaged in some intimate exchange. The paintings with their abundance of produce seem to allude to the excesses of gluttony and lust connected with the senses of taste and touch. An example is the
259:. Whereas the market scenes represented in the 16th century a reflection of a social reality of increased wealth and material abundance, van Utrecht's market scenes are more concerned with the aesthetic effect of the work. Nevertheless, his
208:
Adriaen van
Utrecht created market and kitchen scenes which incorporated large still lifes of game, fish, vegetables and fruit. He thus stood in the tradition of this genre as pioneered in the 16th century by artists in Antwerp such as
772:
Jahel
Sanzsalazar, 'Adriaen van Utrecht (1599–1652) y Gergard Seghers? (1591–1651). Puesto de pescado. Lienzo, 215 x 298 cm. Gante, Museo de Bellas Artes (Inv. S-10)', in: M. Díaz Padrón, J. Sanzsalazar, A. Diéguez, M.M. Doval,
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and other items of luxury such as musical instruments and expensive table ware. Given its low vantage point, the large painting (height 185 cm; width 242.5 cm) was likely intended as a chimneypiece.
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As was common in
Antwerp's art sector at the time, van Utrecht collaborated with other specialist artists, typically figure painters. He is known to have provided the still life elements in paintings by
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The
Alchemist, the Painter, and the 'Indian Bird': Joining Arts and Cultures in Seventeenth-Century Antwerp. Adriaen van Utrecht's 'Allegory of Fire' in the Royal Museums of Fine Arts in Brussels
42:, game and fruit still lifes, fruit garlands, market and kitchen scenes and depictions of live poultry in farmyards. His paintings, especially the hunting and game pieces, show the influence of
596:
Fine Arts Museum, the
National Gallery Bulgaria. It is also part of public collections in Arras, Belgrade, Brussels, Cambrai, Cologne, Copenhagen, Lithuania, Munich, Tokyo and other cities.
843:. In: Hoffmann, Annette; de Giorgi, Manuela; Suthor, Nicola (eds.), 'Synergies in Visual Culture / Bildkulturen im Dialog. Festschrift für Gerhard Wolf', (pp. 499–512). München: Wilhelm Fink
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The collaborations between artists often created opportunities for patronage. Van Utrecht's regular collaborator Willeboirts Bosschaert relied on his good connections with
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Some Flower paintings by Adriaen van Utrecht 1599–1652, a Still Life of Fruit by Constancia van Utrecht (after 1606- after 1647 and a portrait of Adriaen and Constancia,
106:, where he worked for the local courts. He returned to Antwerp in 1625 following his father's death in the preceding year and he became a free master of the local
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and Thomas Willeboirts Bosschaert also worked on the series. Ten preparatory oil sketches that van den Hoecke made for the series have survived (four in the
323:
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Thomas P. Campbell, Pascal-François Bertrand, Jeri Bapasola, 'Tapestry in the Baroque: Threads of Splendor', Metropolitan Museum of Art, 1 January 2007
192:. Van Utrecht did not favor bright colours the way Snyders did but rather preferred warm earthen tones, especially grey-green, and strong
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Van Utrecht also painted barnyard scenes with living animals, typically including poultry such as chickens, turkeys, ducks and peacocks.
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94:, a painter and art dealer who owned an extensive art collection. After completing his apprenticeship with de Neyt, he travelled to
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For some of his market and kitchen scenes Adriaen van Utrecht took direct inspiration from compositions by Snyders such as in the
313:, 1644). In this picture the notion of abundance is emphasized through the depiction of exclusive and expensive imported fruits,
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Walter A. Liedtke, 'Dutch Paintings in the Metropolitan Museum of Art', Volumes 1–2, Metropolitan Museum of Art, 2007, p. 34
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effects. The latter was likely derived from his knowledge of Italian painting and in particular the works of followers of
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Adriaen van Utrecht was born in Antwerp as the son of Abel van Utrecht en Anne Huybrecht. In 1614 he became a pupil of
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Adriaen van Utrecht and Jan Cossiers, 'Kitchen still life with the portraits of Adriaen en Constancia van Utrecht'
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in 1628, he met Constancia van Nieulandt (or 'van Nieuwlandt'), the 17-year-old daughter of the painter and poet
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Van Utrecht became a successful artist who received international commissions from the Emperor of Germany, king
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F. J. Van den Branden, 'Geschiedenis der Antwerpsche schilderschool', 2 vols (Antwerp, 1883), pp. 1082–1084
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Adriaen van Utrecht (1599 – c.1652), 'Still Life of a Lobster, Vegetables, Fruit, and Game' at the
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of 1642, a few still life paintings with bouquets of flowers have been attributed to van Utrecht.
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is believed to have been influenced by van Utrecht's pronkstillevens, which he likely saw in the
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more muted. The figures in van Utrecht's composition were painted by another painter, possibly
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to assist with a series of tapestries under the title 'Allegory of Time' (c. 1650) made for
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Adriaen Van Utrecht (Anversa 1599–1652) e David Teniers (Anversa 1610–1690 Bruxelles),
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is cutting her purse while staring directly out of the picture towards the viewer.
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table on which they were displayed to the floor below such as in the composition
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and as it had been further developed by Frans Snyders in the early 17th century.
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Van Utrecht's work is represented in numerous museum collections, including the
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El Triunfo del Mar. Las riquezas marinas en la Pintura europea del siglo XVII
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Between 1626 and 1646 he trained at least seven known pupils, including
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vegetables. More recently, on the basis of a signed and dated
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Composizione di ortaggi e cacciagione, con figura femminile
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for which van Utrecht had contributed decorations in 1646.
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in 1646. Huis ten Bosch was the residence of the Dutch
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to secure for van Utrecht commissions for decorations at
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Illustrated Dictionary of 17th-Century Flemish Painters
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At the wedding of his sister Catharina and the painter
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Les Peintures Flamands de Nature Morte au XVIIe Siècle
491:), as have eight tapestries based on the designs for
945:. Brussels: Renaissance du livre, 1994; p. 401.
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Still-life paintings from the Netherlands, 1550-1720
941:J. de Maere, Jennifer A. Martin, and Marie Wabbes.
938:. Brussels 1956; 3rd ed., revised, Sterrebeek 1983.
746:. Oxford University Press. Web. 15 September 2015
392:. He is believed to have also collaborated with
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627:Oxford Dictionary of Art Terms: Pronkstilleven
250:). As in Snyders' composition, van Utrecht's
704:at the Netherlands Institute for Art History
364:Vanitas Still-Life with a Bouquet and a Skull
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736:Scott A. Sullivan. "Utrecht, Adriaen van."
922:Alan Chong, W. Th Kloek, Celeste Brusati,
887:Constantijn Huygens, de kunst en het hof
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394:David Teniers the Younger
204:Market and kitchen scenes
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978:Flemish Baroque painters
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578:Kunsthistorisches Museum
485:Jan Brueghel the Younger
248:Kunsthistorisches Museum
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133:Willem van Nieulandt II
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76:Abraham van Diepenbeeck
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402:Theodoor van Thulden
382:Erasmus Quellinus II
64:Erasmus Quellinus II
962:Adriaen van Utrecht
802:at the Bowes Museum
662:Adriaen van Utrecht
531:Abraham van Beyeren
519:Jan Davidsz de Heem
438:Constantijn Huygens
327:(also known as the
108:Guild of Saint Luke
32:Adriaen van Utrecht
828:Banquet Still Life
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415:Fishmonger's Stall
406:Jan van den Hoecke
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307:Banquet still life
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261:Fishmonger’s Stall
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122:Rijksmuseum
40:still lifes
972:Categories
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723:F Meijer,
706:(in Dutch)
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644:(in Dutch)
600:References
497:The Months
455:'s widow,
198:Caravaggio
175:still life
54:, such as
757:Ashmolean
570:Stockholm
563:Hermitage
539:The Hague
503:Influence
446:The Hague
796:Archived
698:Archived
469:tapestry
299:A pantry
291:A pantry
120:, 1644,
679:at the
664:at the
430:Kitchen
321:In the
159:General
100:Germany
36:Antwerp
592:, the
586:Malibu
576:, the
572:, the
565:, the
561:, the
559:Louvre
557:, the
553:, the
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96:France
104:Italy
594:Utah
495:and
404:and
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