Provenance
(Sale, Oger & Camper, Paris, 17 October 2011, no. 86, as Attributed to Clara Peeters); (David Koetser Gallery, Zurich); sold 2013 to Baron Willem van Dedem [1929-2015], London; (his estate sale, Sotheby's, London, 4 July 2018, no. 25); purchased by NGA.
Accession Number
2018.144.1
Medium
oil on copper
Dimensions
overall: 16.6 × 13.5 cm (6 9/16 × 5 5/16 in.) | framed: 25.4 × 22.86 × 3.81 cm (10 × 9 × 1 1/2 in.)
Classification
Painting
Credit Line
The Lee and Juliet Folger Fund
Tags
Painting Baroque (1600–1750) Oil Painting Copper Flemish
Background & Context
Background Story
Clara Peeters (active c. 1607-1621) was a Flemish still life painter known for her precisely observed flower and breakfast still lifes that make her one of the earliest female still life painters in Western art and one of the earliest practitioners of the breakfast still life genre. Still Life with Flowers Surrounded by Insects and a Snail from c. 1610 depicts flowers surrounded by insects and a snail in the precisely observed, dark-background manner that distinguishes Peeters's best work. The c. 1610 date places this at the very beginning of the 17th-century still life tradition, when Peeters was one of the earliest practitioners of the flower still life genre.
Cultural Impact
Still Life with Flowers Surrounded by Insects and a Snail is important in the history of still life painting because it demonstrates the precisely observed manner that makes Clara Peeters one of the earliest practitioners of the flower still life and one of the earliest female painters to achieve professional recognition. The insects and snail surrounding the flowers are vanitas symbols—reminders of the transience of life that are central to the still life tradition—and Peeters's precisely observed treatment shows the early 17th-century still life at its most accomplished.
Why It Matters
Still Life with Flowers Surrounded by Insects and a Snail is Peeters's pioneering still life: flowers surrounded by insects and a snail rendered with the precise observation that makes her one of the earliest practitioners of the flower still life genre and one of the earliest female painters to achieve professional recognition. The c. 1610 painting shows the early 17th-century still life at its founding moment.