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177:, van Oosterwijck was the only woman whose work was included. Early writers tended to depict female artists by correlating virtues which were traditionally held by women with similar values gleaned from interpretation of their paintings. Van Oosterwijck, who devoted her life to her painting rather than being a wife and mother, proved a challenging subject for these writers, and their accounts may not portray her as a fully formed personality. The more personal aspects of her paintings were also largely unexplored. This is in contrast to
334:) appears in various locations within most of her substantial paintings. For example, sometimes the butterfly is resting on a flower stem, or on the edge of a table with a flower vase, or on a book. The butterfly was used as a device to draw the viewer's attention into the painting and into van Oosterwijck's artistic vision. The butterflies are also symbolic of Christ's resurrection.
300:, books, globes, partially eaten food, bags of money, insects, wilted leaves, and flowers. She also included symbols of resurrection, giving her work a subtle bitter-sweet quality which is in contrast to some other artists of the time who sometimes, for example, would depict a large pile of skulls in order to deliver the moral message in their vanitas paintings.
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200:, features her posing with poet Dirk Schelte. In 1673, Schelte had written a poem in tribute to the beauty of van Oosterwijck's paintings, as well as that of her character. The portrait appears to reference the poem, picturing van Oosterwijck, with palette and brushes, as a painter-muse, serving as an inspiration to Schelte the poet.
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tradition. There are very few existing pieces that have been identified as being by van
Oosterwijck, most of which are florals, but Houbraken determined that she had created many other still lifes. Many of her paintings were small-format. This was often the case for artists of the time, as large
268:
techniques in her use of light and shadow. She frequently painted dark backgrounds, which resulted in increased brilliance of the foregrounds. She helped to transform the genre of the floral still life, painting realistically in a manner similar to the 16th-century Dutch
128:. Van Aelst courted her, but she refused his hand, and he reportedly stopped pursuing her because her devotion to painting was more important to her. Van Oosterwijck remained single throughout her life, but she raised her nephew, who had been orphaned.
251:, biographer of Dutch Golden Age artists, eulogized van Oosterwijck, but did not consider her to be a professional artist, despite the very large sums paid for her paintings by such high-profile collectors as various members of European royalty.
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Van
Oosterwijck created floral paintings and still lifes with allegorical themes during a period in which such works were much sought after in Central Europe. She and Ruysch were judged to be the most eminent still life painters of the
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Van
Oosterwijck initially worked in Delft and later moved to Utrecht. She worked with de Heem, and years later she produced her first professional piece which had been created independently. When de Heem moved to
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98:'s studio. With de Heem's influence, van Oosterwijck developed her interest in floral painting. She became his student, and she showed herself to have a talent for vividly painting realistic creations.
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In addition to being a talented painter, she was also a successful businesswoman; she obtained the services of an agent in
Amsterdam to market her pieces to Germans. Among her patrons were
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207:, also known as Geertje Pieters, to mix her paints, and trained her as a painter too. After van Oosterwijck died, Wyntges lived independently, supporting herself as a painter.
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245:, about 12 kilometres (7.5 mi) northeast of Amsterdam, in 1693. The date of her death is often reported as 12 November, but some sources claim it was in December.
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151:. Despite the fact that her skillfully executed paintings of flowers were sought out by Dutch and other collectors, she was denied membership in the
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In 1689, van
Oosterwijck created her last known painting, a still life which is in the Collection of Her Majesty the Queen at London's
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As an homage to van
Oosterwijck's skill as a floral painter – considered an acceptable vocation for a woman of the time –
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wine. Even colors are used symbolically, with white denoting innocence, yellow indicating divinity, and red symbolizing martyrdom.
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Van
Oosterwijck was very religious, and she often symbolically represented her deeply held beliefs in her paintings. The
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90:. Her date of birth is generally listed as 20 August, but some sources state that it was 27 August. Her father was a
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paintings incorporate objects intended to symbolize the ephemeral nature of life; such objects may include skulls,
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minister, as was her grandfather. Her father took her, when she was quite young, to masterful still life painter
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181:(1664–1750), who was married and had ten children, and was written about in very personable and glowing terms.
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Van
Oosterwijck painted a recurring poetic embellishment into her still lifes. The red admiral butterfly (
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is symbolic of turning to God. Grapes take on a symbolic religious meaning because of their use to make
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758:
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807:
Schama, Simon (April 1980). "Wives and
Wantons: Versions of Womanhood in 17th Century Dutch Art".
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pieces tended to restrict sales opportunities to wealthier clients such as churches or the state.
264:. Van Oosterwijck's work, using luminous colors, is very richly detailed, sometimes demonstrating
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Through the use of symbolic elements, her paintings reflect themes commonly found in
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Very few women were professional artists during the 1600s. In a 2004 book on
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237:'s reign, as was another van Oosterwijck work. She died at her home in
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De groote schouburgh der
Nederlantsche konstschilders en schilderessen
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117:, van Oosterwijck had ample opportunity for independent painting.
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217:, 1689, Royal Collection. Van Oosterwijck's last known painting.
62:, specializing in richly detailed flower paintings and other
732:(1223). The Burlington Magazine Publications Ltd.: 123–124.
1218:(in Dutch). October 2005. pp. 7–8. Archived from
720:
Enchanting the Eye. Dutch Paintings of the Golden Age
684:"Maria van Oosterwyck: Bouquet of Flowers in a Vase"
120:Sometime in the early- to mid-1670s, she moved to
1186:. New York: Watson-Guptill. pp. 109–114.
884:"Still Life with Flowers, Insects and a Shell"
8:
1154:Berardi, Marianne (2001). Delia Gaze (ed.).
486:, c. 1670, Palatine Gallery in Palazzo Pitti
227:Still Life with Flowers, Insects and a Shell
215:Still Life with Flowers, Insects and a Shell
163:Still Life with Flowers in a Decorative Vase
1081:, The Royal Picture Gallery. Archived from
580:"Maria van Oosterwyck (Dutch, 1630-1693):
155:, because women were not allowed to join.
74:Maria van Oosterwijck was born in 1630 in
1216:Newsletter of Nootdorp Historical Society
949:"Still Life with Flowers and Butterflies"
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544:Still Life with Flowers and Butterflies
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1160:. Fitzroy Dearborn. pp. 524–528.
469:Vanitas with Sunflower and Jewelry Box
860:Netherlands Institute for Art History
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192:. This 1671 portrait, in Amsterdam's
7:
767:Digital Library for Dutch Literature
290:Dutch still life of the 17th-century
188:painted a portrait of her holding a
1157:Concise Dictionary of Women Artists
718:Bailey, Colin J. (February 2005). "
1209:"Schilderij Maria van Oosterwijck"
25:
394:Palatine Gallery in Palazzo Pitti
42:Portrait of Maria van Oosterwijck
1287:17th-century Dutch women artists
536:
531:, 1685, Statens Museum for Kunst
521:
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476:
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284:, 1668, Kunsthistorisches Museum
147:; she sold three pieces to the
1267:People from Pijnacker-Nootdorp
1:
529:Bouquet of Flowers in a Glass
471:, c. 1665, private collection
108:, 1669, Cincinnati Art Museum
501:, c. 1670, Denver Art Museum
499:Bouquet of Flowers in a Vase
137:Holy Roman Emperor Leopold I
165:, c. 1670–1675, Mauritshuis
1303:
1184:Great Women Masters of Art
484:Flowers, Fruit and Insects
171:Dutch Golden Age paintings
29:
1252:Dutch still life painters
1247:Dutch Golden Age painters
1107:. Polo Museale Fiorentino
1131:Statens Museum for Kunst
1049:Kunsthistorisches Museum
546:, 1686, Royal Collection
414:Statens Museum for Kunst
374:Kunsthistorisches Museum
60:Dutch Golden Age painter
30:Not to be confused with
27:Dutch artist (1630–1693)
1272:Painters from Amsterdam
1127:"Maria van Oosterwijck"
1105:"Oosterwyck, Maria Van"
1015:University of Cambridge
957:. Inventory no. 405626.
892:. Inventory no. 405625.
817:Oxford University Press
725:The Burlington Magazine
722:by Christopher Lloyd".
652:"Maria van Oosterwijck"
514:A Floral Still Life ...
203:She taught her servant
1075:"Maria van Oosterwyck"
954:Royal Collection Trust
889:Royal Collection Trust
353:Sacramento, California
314:
285:
229:, was acquired by the
218:
166:
145:William III of England
141:Augustus II the Strong
109:
78:, a town located near
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1182:Vigué, Jordi (2002).
977:Cincinnati Art Museum
759:"Maria van Oosterwyk"
344:Cincinnati Art Museum
306:
280:
213:
161:
104:
92:Dutch Reformed Church
52:Maria van Oosterwijck
40:
1262:Dutch flower artists
1257:Dutch women painters
825:10.1093/oxartj/3.1.5
456:, Crocker Art Museum
441:, Fitzwilliam Museum
96:Jan Davidsz. de Heem
58:, (1630–1693) was a
32:Maria van Oisterwijk
18:Maria van Oosterwyck
582:Roses and Butterfly
454:Roses and Butterfly
133:Louis XIV of France
1055:on 7 November 2013
1011:Fitzwilliam Museum
856:"Geertgen Wyntges"
809:Oxford Art Journal
587:Crocker Art Museum
364:Fitzwilliam Museum
349:Crocker Art Museum
315:
286:
282:Vanitas-Still Life
219:
198:Gerard de Lairesse
186:Wallerant Vaillant
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46:Wallerant Vaillant
1043:Vanitas-Stilleben
1005:A Vase of Flowers
971:Flower Still Life
755:Houbraken, Arnold
691:Denver Art Museum
593:on 24 August 2013
439:A Vase of Flowers
359:Denver Art Museum
312:Flower Still Life
225:. This painting,
223:Kensington Palace
175:Christopher Lloyd
173:by art historian
106:Flower Still Life
16:(Redirected from
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404:Royal Collection
331:Vanessa atalanta
308:Vanessa atalanta
249:Arnold Houbraken
231:Royal Collection
205:Geertgen Wyntges
126:Willem van Aelst
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1227:. Retrieved
1220:the original
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1109:. Retrieved
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1087:. Retrieved
1083:the original
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1053:the original
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765:(in Dutch).
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591:the original
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1282:1693 deaths
1277:1630 births
1079:Mauritshuis
384:Mauritshuis
338:Collections
323:eucharistic
298:hourglasses
266:chiaroscuro
194:Rijksmuseum
88:Netherlands
64:still lifes
44:, 1671, by
1241:Categories
1229:2012-10-09
552:References
418:Copenhagen
235:Queen Anne
56:Oosterwyck
388:The Hague
368:Cambridge
319:sunflower
122:Amsterdam
1173:17 March
1136:17 March
1111:17 March
1089:17 March
1059:17 March
1025:17 March
987:17 March
865:25 March
819:: 5–13.
772:18 March
757:(1718).
738:20073859
696:23 March
661:25 March
597:17 March
398:Florence
76:Nootdorp
1148:Sources
833:1360173
584:, n.d."
425:Gallery
310:, from
294:vanitas
233:during
190:palette
115:Antwerp
1190:
1164:
831:
736:
516:, 1675
408:London
378:Vienna
239:Uitdam
143:, and
135:, the
86:, the
1223:(PDF)
1212:(PDF)
829:JSTOR
815:(1).
734:JSTOR
687:(PDF)
80:Delft
1188:ISBN
1175:2013
1162:ISBN
1138:2013
1113:2013
1091:2013
1061:2013
1027:2013
989:2013
867:2013
774:2013
698:2013
663:2013
599:2013
821:doi
730:147
255:Art
82:in
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