The Meal (1885)

Technique: Giclée quality print
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More about this artwork

Henri de Braekeleer's 1885 painting, "The Meal," masterfully captures a quiet, introspective moment steeped in the ambience of the 19th century Flemish interior. The painting is notable for its intricate detail and lush textures, inviting viewers to ponder the story behind the scene.In "The Meal," we see a single figure, a woman seated at a lavishly set table that suggests a meal either anticipated or just concluded. The woman is dressed in a simple yet elegant blue gown, her demeanor one of deep contemplation or perhaps subdued melancholy. Her gaze is directed towards her hands, which are delicately engaged with an apple, halved and resting on the table.The setting is a richly decorated room, replete with ornate furnishings and tapestries that speak to a well-established household. Every object in the room, from the heavy velvet curtains to the gleaming tableware, shines under Braekeleer's meticulous brushwork. Particularly striking are the emphatic textures: the grain of the wood, the weave of the fabrics, and the reflective surfaces of glass and silverware.On the table, an assortment of fruits and a glass of wine suggest the remnants of a solitary meal. The contrast between the abundant setting and the woman's solitude enhances the painting's emotional weight, hinting at stories untold.Henri de Braekeleer, known for his intimate interior scenes, uses light, shadow, and texture to convey mood and narrative. "The Meal" stands as a poignant example of his talent to evoke narrative depth within the confines of daily domestic life.

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Henri Jean Augustin de Braekeleer (11 June 1840 – 20 July 1888) was a Belgian painter. He was born and died in Antwerp. He was trained in drawing by his father Ferdinand de Braekeleer, a well-known genre painter, and his uncle Jan August Hendrik Leys. Braekeleer entered the Royal Academy of Fine Arts (Antwerp) in 1854. Although he remained a student there until 1861, he publicly exhibited his paintings for the first time in 1858, when Reaper and Washerwoman (locations unknown) were shown at the Antwerp Salon. In 1863, he went to Germany and, in 1864, to the Netherlands, studying works by 16th- and 17th-century painters in both countries. The influence of Johannes Vermeer was especially important, seen in one of de Braekeleer's most characteristic subjects: a single person absorbed in a quiet activity, shown in an interior lit by a window.