A still life

A still life (plural still lifes) is a work of art depicting mostly inanimate subject matter, typically commonplace objects which may be either natural (food, flowers, plants, rocks, or shells) or man-made (drinking glasses, books, vases, jewelry, coins, pipes, and so on). With origins in the middle Ages and Ancient Greek/Roman art, still life paintings give the artist more leeway in the arrangement of design elements within a composition than do paintings of other types of subjects such as landscape or portraiture. Still life paintings, particularly before 1700, often contained religious and allegorical symbolism relating to the objects depicted. Some modern still life breaks the two-dimensional barrier and employs three-dimensional mixed media, and uses found objects, photography, computer graphics, as well as video and sound.

Antecedents

Still life paintings often adorn the interior of ancient Egyptian tombs. It was believed that food objects and other items depicted there would, in the afterlife, become real and available for use by the deceased. Ancient Greek vase paintings also demonstrate great skill in depicting everyday objects and animals.By the 16th century, food and flowers would again appear as symbols of the seasons and of the five senses. Also starting in Roman times is the tradition of the use of the skull in paintings as a symbol of mortality and earthly remains, often with the accompanying phrase Omnia Mors aequat (Death makes all equal). These vanitas images have been re-interpreted through the last 400 years of art history, starting with Dutch painters around 1600.The popular appreciation of the realism of still life painting is related in the ancient Greek legend of Zeuxis and Parrhasius, who are said to have once competed to create the most lifelike objects, history’s earliest descriptions of trompe-l'œil painting. As Pliny the Elderrecorded in ancient Roman times, Greek artists centuries earlier were already advanced in the arts of portrait painting and still life. He singled out Peiraikos, "whose artistry is surpassed by only a very few...He painted barbershops and shoemakers’ stalls, donkeys, vegetables, and such, and for that reason came to be called the ‘painter of vulgar subjects’; yet these works are altogether delightful, and they were sold at higher prices than the greatest [paintings] of many other artists.

Sixteenth Century

The 16th century witnessed an explosion of interest in the natural world and the creation of lavish botanical encyclopedias recording the discoveries of the New World and Asia. It also prompted the beginning of scientific illustration and the classification of specimens. Natural objects began to be appreciated as individual objects of study apart from any religious or mythological associations. The early science of herbal remedies began at this time as well, which was a practical extension of this new knowledge. In addition, wealthy patrons began to underwrite the collection of animal and mineral specimens, creating extensive "curio cabinets". These specimens served as models for painters who sought realism and novelty. Shells, insects, exotic fruits and flowers began to be collected and traded, and new plants such as the tulip (imported to Europe from Turkey), were celebrated in still life paintings.

Seventeenth century

Even though Italian still life painting was gaining in popularity, it remained historically less respected than the "grand manner" painting of historical, religious, and mythic subjects. Prominent Academicians of the early 17th century, such as Andrea Sacchi, felt that genreand still life painting did not carry the "gravitas" merited for painting to be considered great. On the other hand, successful Italian still life artists found ample patronage in their day.Furthermore, women painters, few as they were, commonly chose or were restricted to painting still life; Giovanna Garzoni, Laura Bernasconi, Maria Theresa van Thielen, and Fede Galizia are notable examples.

Eighteenth century

By the 18th century, in many cases, the religious and allegorical connotations of still life paintings were dropped and kitchen table paintings evolved into calculated depictions of varied color and form, displaying everyday foods. The French aristocracy employed artists to execute paintings of bounteous and extravagant still life subjects that graced their dining table, also without the moralistic vanitas message of their Dutch predecessors. The Rococo love of artifice led to a rise in appreciation in France for trompe-l'œil (French: "trick the eye") painting. Jean-Baptiste Chardin’s still life paintings employ a variety of techniques from Dutch-style realism to softer harmonies.

Nineteenth century

With the rise of the European Academies, most notably the Académie française which held a central role in Academic art, still life began to fall from favor. The Academies taught the doctrine of the "Hierarchy of genres" (or "Hierarchy of Subject Matter"), which held that a painting's artistic merit was based primarily on its subject.

Twentieth century

The first four decades of the 20th century formed an exceptional period of artistic ferment and revolution. Avant-garde movements rapidly evolved and overlapped in a march towards nonfigurative, total abstraction. The still life, as well as other representational art, continued to evolve and adjust until mid-century when total abstraction, as exemplified by Jackson Pollock's drip paintings, eliminated all recognizable content.

21^st century

In the last three decades of the 20th century and in the early years of the 21st century still life has expanded beyond the boundary of a frame. Especially in the wake of the computer age, and the rise of Computer art and Digital art the nature and definition of still life has changed. Some mixed media still life work employing found objects, photography, video, and sound, and even spilling out from ceiling to floor, and filling an entire room in a gallery. Computer-generated graphics have expanded the techniques available to still life artists. With the use of the video camera, still life artists can even incorporate the viewer into their work.