Willem van Aelst

baroque

Willem van Aelst Paintings 1627 - 1683 Baroque Era Painter

Still-Life with Hunting Equipment and Dead Birds, 1668

Oil on canvas, 26.77 x 21.26 inches [68 x 54 cm]

Staatliche Museen, Kassel

Still Life Paintings

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painting: AEW001 size: 26.3x21 inches price: $460 add to cart

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Still-Life with Hunting Equipment and Dead Birds, 1668 by Willem van Aelst is entirely handmade without use of artificial methods. It is painted on linen canvas with oil paints of the highest French quality.

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OIL PAINTING: Still-Life with Hunting Equipment and Dead Birds, 1668
      In addition to fruit and flower still-lifes paintings with cool colour harmonies, van Aelst also enjoyed painting elegant hunting weapons and dead animals placed in a dark corner by a wall for rich clients. One example is this still-life oil painting - Still-Life with Hunting Equipment and Dead Birds.
      A dead partridge is hanging by its leg from a piece of string. Its wings and feathers, which are grey with brownish patches, open up towards us at the bottom like a fan. The fly on the light-coloured feathers has an illusionist effect: disproportionately large in size, it belongs to the realistic level of the painting rather than its fictitious one, so that the viewer is given the impression that a real fly is crawling across the painting. The bird's head has been pressed slightly towards the middle by the blue hunting bag with the golden fringe and the adjustable shoulder strap which is lying on the stone shelf. Beside the partridge a hunting horn, also adorned with tassels, and a powder bottle have been hung up. The shiny, metallic grey of the hunting horn has been painted by the artist with a highly sensitive eye for the different hues of the bird's fluffy, grey feathers on its breast and as a contrast to the grey of the wings which merges into white towards the middle of the painting.
      But, although the bird has been rendered with almost unsurpassable precision, it has an odd abstract quality. It seems as if, in its material consistency, it had undergone a synthesis with the implement of civilization by which it was pursued - as if it was no longer merely part of nature and a victim, but an aesthetically refined and ennobled form of existence.