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Unlike Pieter
Bruegel the Elder, Aertsen's genre figures (especially the women) were mostly depicted idealized with considerable dignity and no effort at comedy, using poses that ultimately derived from classical art. In some cases they appear to have been borrowed from the contemporary court
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Sullivan, 240. The whole article provides an extended discussion of the reception of early genre paintings and their context in contemporary art theory. The popularity of Pliny in
Northern Europe in particular is discussed on pp. 240–241; Falkenberg (1995),
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231:. Unlike these, in Aertsen's works the genre material dominates the front of the image, with the history scene, normally religious, easy to overlook in the background. This pictorial technique drew on the paintings of another Antwerp artist,
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After beginning by painting religious works, in the 1550s he developed the painting of domestic scenes in which he reproduced articles of furniture, cooking utensils, and food with great flair and realism. His
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Kwak, Zoran, "Taste the Fare and Chew it with Your Eyes': A Painting by Pieter
Pietersz and the Amusing Deceit in Sixteenth- and Seventeenth-Century Dutch and Flemish Kitchen Scenes", in
215:, 1551) "has been called the earliest example of Mannerist inversion of still life in Northern painting", showing the "lower" subject matter far more prominently than the subject from
318:, published posthumously in 1588, which compares Aertsen at each point of Pliny's description in a wholly laudatory manner. An article by Zoran Kwak argues that a painting by his son
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278:(believed to promote lust) in a back room behind. The sign at top right advertises the land behind as for sale. The painting offers the viewer a range of options for life, in an
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on physical and spiritual food. The painting carries the coat of arms of
Antwerp, suggesting it was a civic commission, perhaps by the rich Butcher's
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and often also includes a biblical scene in the background. He was active in his native city
Amsterdam but also worked for a long period in
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painted some similar works), but history paintings with very prominent and profuse still life elements in the foreground were produced by
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192:. In the official books of the Guild he is recorded as "Langhe Peter, schilder" (Tall Peter, painter). In 1542 he became a citizen (
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362:, or "Changeover", when Amsterdam formally reverted to Protestantism from Catholicism on 26 May 1578 at the start of the
307:, was important in justifying genre and other "low" subjects in painting. Aertsen was compared to Peiraikos by the Dutch
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several paintings that had been commissioned for
Catholic churches were destroyed. Several of his best works, including
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developed important genres of independent still life subjects, which were just occasionally produced in
Aertsen's day.
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In the
Uppsala painting the zones behind the butcher's stall show (from left) a view through a window of a church, the
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Later in life, he also painted more conventional treatments of religious subjects, now mostly lost as during the
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On the Edge of Truth and
Honesty: Principles and Strategies of Fraud and Deceit in the Early Modern Period
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in various churches in
Amsterdam, were also destroyed during the days surrounding the event known as the
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for royal portraits, show them holding roasting spits with poultry as if they were Marshall's batons.
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Kwak, 223–228. The painting's location is unknown, and it was last known in a private collection in
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Iconographical connections between Antwerp landscapes, market scenes and kitchen pieces, 1500-1580
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Aersten's exact formula of still life and genre figures in the foreground, with small scenes from
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He married Kathelijne Beuckelaar, the daughter and sister of an Antwerp painter and aunt of
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scenes preceded by a few years the much better-known paintings produced in Antwerp by
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Aertsen's Kitchen and Market Scenes: Audience and Innovation in Northern Art
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distributing alms on their journey, a worker in the mid-ground, with a
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in the background only persisted for the next generation (or two, as
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In the Renaissance, the classical example of the painter
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in Antwerp several decades earlier when he invented the
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286:. Such subjects were mostly painted before about 1560.
142:, then the centre of artistic life in the Netherlands.
667:, edited by Toon van Houdt and others, BRILL, 2002,
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Notable pupils who trained in his workshop included
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188:. Aertsen became a member of Antwerp's
570:Flemish Painting: From Bosch to Rubens
528:. Atlantic Observer. 1944. p. 26.
338:Christ in the House of Martha and Mary
314:(Adriaen de Jonghe, 1511–1575) in his
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599:Snyder, 445, citing Kenneth Craig
374:Royal Museum of Fine Arts Antwerp
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645:"Pieter Aertsen, Rhyparographer"
425:portraiture of artists such as
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489:became successful painters.
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738:Dutch Renaissance painters
650:Falkenberg, R. L. (1988),
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688:, 1985, Harry N. Abrams,
408:Dutch Golden Age painting
320:Pieter Pietersz the Elder
219:. A similar inversion in
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74:Pieter Pietersz the Elder
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686:Northern Renaissance Art
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155:Pieter Bruegel the Elder
147:Flemish Baroque painting
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581:Snyder, 445
369:Crucifixion
354:altarpieces
264:Holy Family
186:Jan Mandijn
732:Categories
694:0136235964
673:9004125728
638:References
346:iconoclasm
132:still life
124:Lange Piet
122:), called
42:1508
451:Stradanus
359:Alteratie
301:Peiraikos
178:Amsterdam
120:Amsterdam
116:Amsterdam
622:in 1929.
435:Brussels
280:allegory
170:The cook
70:Children
609:201-203
372:in the
348:of the
316:Batavia
276:oysters
272:mussels
270:eating
213:Uppsala
195:poorter
151:peasant
140:Antwerp
114:(1508,
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647:, 1995
620:Berlin
485:, and
479:Pieter
445:Legacy
439:Titian
420:, 1569
400:Rubens
386:, 1560
340:, 1553
258:, 1552
245:, 1561
172:, 1559
161:Career
107:, 1551
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704:JSTOR
511:Notes
431:Genoa
284:Guild
690:ISBN
669:ISBN
487:Dirk
483:Aert
473:and
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134:and
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39:Born
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