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believed that his earliest still lifes are the ones in which the edge of the table is close to the bottom of the picture and the table is depicted from a rather elevated viewpoint. In these early works, the table is partly covered with a white cloth. In his later works he abandoned some of the rigidity of these early works by lowering the viewpoint, leaving some space under the table and including one side of the table in the composition. His palette is also believed to have evolved over the years and his later works have brighter colours and less dark backgrounds. His later still lifes are set out on plain wooden tables. The grain of the wood is typically depicted in great detail. Occasionally these tables are partly covered with a dark (greyish- or greenish-black) cloth.
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Whereas 17th-century still lifes are usually believed to convey a hidden âmessageâ, often related to the vanitas motif of the transience of all things, in van
Hulsdonckâs works this seems to have been largely absent. Van Hulsdonck did, however, often include a bluebottle as an eye-catching motif and
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A few of his flower pieces only depict a single variety of flowers such as carnations, but most of the time he painted a mixture of a restricted number of blooms in which tulips dominate. The flowers are typically set against a dark background and are held in simple clear glass beakers with prunts
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of 1614 (Bowes Museum, Barnard Castle) it is difficult to establish a chronology of his works. Panel makers' marks are of little help in dating his work because of his preference for panels prepared with gesso on the reverse, which makes the wood more stable and less susceptible to warping. It is
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in the lower register only, in order to allow the stems of each flower to be followed through to the base. His flower pieces show a greater formal elegance and refined simplicity than
Brueghel's usually more elaborate flower pieces. This may possibly be due to Bosschaert's formative influence.
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The banquet pieces of van
Hulsdonck typically depict one bowl or basket of fruit in the center. There are six examples where he placed a small vase of flowers to one side of the bowl. The fruits are usual freshly picked plums, grapes, apricots or strawberries, although there is an example of a
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Jacob van
Hulsdonck was a still life painter of banquet style pieces, fruit bowls and flowers. Roughly 100 paintings are currently attributed to him. The meticulous handling of detail in his work likely explains his relatively low output. More than half of his paintings are signed with his
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Van
Hulsdonck also painted pure flower still lifes although they account for a much smaller portion of his oeuvre. Only a few of these are signed and have therefore sometimes been attributed to other artists. For instance, the work
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Jacob van
Hulsdonck, Still life on a plain table of a Wanli period dish filled with raisins, dried figs and almonds, with bread, slices of sugared preserved melon, raisins and almonds strewn on the table, with a bluebottle on the
126:, two still life artists active in early 17th century Antwerp. It is even possible that van Hulsdonck worked in their circle before becoming a master in the Guild of Saint Luke in 1608. His flower pieces show the influence of
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Van
Hulsdonck was particularly skilled in rendering the softness and delicacy of the skins of the fruit. He was a master in bringing out the difference of texture and colouring of the various types of fruit and their foliage.
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Jacob van
Hulsdonck was born in Antwerp in 1582. He moved to Middelburg at a young age and there he likely received at least part of his training. The prime still life painting studio in Middelburg was that of Flemish émigré
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that year. The following year he married Maria la Hoes and moved into the house that remained his residence for the rest of his life. The couple had seven children.
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A still life of tulips, roses, bluebells, daffodils, a peony and other flowers in a glass roemer on a wooden ledge with a dragonfly
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Although he must have been familiar with the work of the
Bosschaert studio, his work shows more affinity with the work of
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By 1608 van
Hulsdonck had returned to Antwerp as is documented by the record of his admission as a master of the Antwerp
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the only living creature in his still lifes. Flies are often regarded as a symbol of the shortness of life.
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Still life of tulips, carnations, a rose and other flowers in a glass beaker resting on a wooded ledge
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Sam Segal, Nabio Bijutsukan, TĆkyĆ SutÄshon GyararÄ«, Art Gallery of New South Wales SDU Publishers,
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192:. His flower pieces can be regarded as a precursor of van Kesselâs work as well as that of
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characteristic full signature in capitals while some are signed with a monogram only.
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Still life with fruit in a Wanli bowl on a table with a butterfly and a scarab beetle
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Apricots, plums and grapes in a bowl and strewn on a ledge, with a vase of flowers
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who later worked for a long period as a still life painter in Amsterdam.
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Flowers and nature: Netherlandish flower painting of four centuries
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Still life with raisins, apricots and plums in a porcelain dish
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Still life with raisins, apricots and plums in a porcelain dish
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Still life of tulips, carnations, a rose and other flowers
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240:Jacob van Hulsdonck (Antwerp 1582-1647),
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262:Jacob van Hulsdonck (1582â1647),
24:Still Life with Fruit and Flowers
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148:Banquet pieces and fruit bowls
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355:Flemish still life painters
16:Flemish painter (1582â1647)
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350:Flemish Baroque painters
190:Jan van Kessel the Elder
124:Hieronymous Francken II
314:, SDU Publishers, 1990
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128:Jan Brueghel the Elder
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360:Painters from Antwerp
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55:Ambrosius Bosschaert
334:Jacob van Hulsdonck
220:Jacob van Hulsdonck
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30:Jacob van Hulsdonck
297:2016-03-04 at the
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42:Antwerp
38:Antwerp
36:(1582,
79:Gillis
291:melon
204:Notes
85:Work
48:Life
224:RKD
32:or
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