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Trompe l'oeil with Studio Wall and Vanitas Still Life
View through National Gallery of Denmark
A depiction of a painting within an artist’s studio. A still life
is positioned on a shelf, referencing objects of transience
(a skull, an hourglass, and a candle, etc.). The completed
artwork is still mounted on a provisional stretcher. The upper
right-hand corner of the canvas has become detached,
thereby exposing the woven ground of the canvas.
A collection of brushes, a paint box and a maulstick (a tool
used to stabilise the hand while painting) are positioned
below the painting. From a palette, paint is running down and
dripping. It looks as if the painter has just left his studio.
By featuring his own working tools in such a prominent
manner, Cornelius Gijsbrechts places considerable emphasis
on the production and creative process inherent to the essence
of painting depicted here. Furthermore, he asserts his role
in the production of these works by not only signing the still
life, but also immortalising himself by prominently placing his
name on the note attached to the stretcher frame (50 Favorites in the SMK Collection).
Title: Trompe l'oeil with Studio Wall and Vanitas Still Life
Description:
A depiction of a painting within an artist’s studio.
A still life
is positioned on a shelf, referencing objects of transience
(a skull, an hourglass, and a candle, etc.
).
The completed
artwork is still mounted on a provisional stretcher.
The upper
right-hand corner of the canvas has become detached,
thereby exposing the woven ground of the canvas.
A collection of brushes, a paint box and a maulstick (a tool
used to stabilise the hand while painting) are positioned
below the painting.
From a palette, paint is running down and
dripping.
It looks as if the painter has just left his studio.
By featuring his own working tools in such a prominent
manner, Cornelius Gijsbrechts places considerable emphasis
on the production and creative process inherent to the essence
of painting depicted here.
Furthermore, he asserts his role
in the production of these works by not only signing the still
life, but also immortalising himself by prominently placing his
name on the note attached to the stretcher frame (50 Favorites in the SMK Collection).
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