Along with Willem Claesz Heda, Pieter Claesz is considered to be the great master of the Dutch ‘Monochrome Banket’ paintings, which were very much sought after in the 1640’s. In contrast to the shine and glitter of golden and silverware and the abundance of foods that we find in the pronk still lifes, these banquets show simple objects and foods, rendered in a predominantly brownish, greyish tone, and ordered in simple and balanced compositions.
In his early work, Pieter Claesz still used exuberant colours, painting the so-called ‘pronk still lifes’ that were made so popular by Jan Davidsz. de Heem, Abraham van Beyeren and Willem Kalf among others. Later in his career, he toned down his colours and brought them closer together showing simple objects and foodstuffs rendered in a predominantly brownish, greyish tone, and set in simple and balanced compositions.
Pieter Claesz must have considered the rendering of materials and light reflections as the main objective, and he mastered this art better than any other painter.
from a private collection
to be published and illustrated in the future re-print of the catalogue raisonné by Dr M. Brunnner-Bulst.
Dr. M. Brunner-Bulst dd. 31 March 2009. In her expertise she compares it to three specific still-lifes, two from 1647, one from 1650, that without question form a group with the present painting.
Theme and objects are very much alike, but still every one of these four are individual compositions conceived anew (see: Brunner-Bulst cat. raisonné cat. nos. 156, 157 and 186).