Still Life with Jar (1881-1885)

Technique: Giclée quality print
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More about this artwork

Henri de Braekeleer, known for his intimate and detailed approach to scenes of daily life, showcases his mastery in the painting "Still Life with Jar" from the period of 1881-1885. This work invites viewers into a simple yet profound visual dialogue about the beauty found in everyday objects.In this painting, the viewer's attention is drawn to a robust, textured jar with a vibrant terra cotta hue, positioned prominently against a subdued, darker background which enhances its presence. This jar, along with a decorative brass basket filled with elements of daily culinary use, creates a narrative of domestic life. The basket stands filled to the brim, perhaps with kindling wood, hinting at preparation for a meal. Adjacent to the jar, a plate replete with sliced bread and fish, painted with meticulous attention to texture, offers a glimpse into the rustic fare typical of the period.The composition is set against a backdrop featuring a loosely defined fireplace, giving a nod to the source of warmth and cooking in homes of that era. The subdued palette predominantly features earth tones, which harmonize the elements and accentuate the play of light and shadow, thereby creating a compelling still life arrangement.Braekeleer's "Still Life with Jar" not only highlights his technical prowess but also reflects his ability to find and depict elegance and serenity in the commonplace. This painting is a celebration of the mundane, turned extraordinary through the artist's eye, reminding us that beauty often resides in the simplest of settings.

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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.