One of them, Johan Somer, in 1597 sent the famous botanist Carolus Clusius – then in Leiden – a ‘likeness’ of the yellow fritillary that had bloomed in his garden. He must have profited greatly from the botanists and garden enthusiasts living in Middelburg at that time. There he became the first specialist in the area of bouquets. This once again demonstrates that such a bouquet is a constructed reality in which the flowers, it is true, were painted from nature, while the composition as a whole sprang from the artist’s imagination.īosschaert was born in Antwerp, but moved with his parents to Middelburg at a young age. Oddly, he overlooked the fact that with such an open window light would also pour in from back to front the shadows we see are all caused by a source of light situated at the left front. Bosschaert may have derived this idea from prints, where it had earlier been introduced. Such a landscape, representing the world as it were, accords with the fact that the flowers came from far and near. Bosschaert was the only master to paint bouquets with a landscape in the background. Usually, such niches are closed off at the back, but Bosschaert opened it up affording a vista of a sweeping mountainous landscape with a broadly winding river. The vase and flowers are set in a stone window, which nicely frames the bouquet. The flowers, the majority of which are foreign and rare, are arranged in a remarkable glass decorated with masks.
The keenness of Bosschaert’s artistic eye is underscored by minute details, such as a tiny beetle on the white rose in the middle or the dewdrops on the windowsill. The lighting is even and all the flowers are very visibly and frontally presented, the only exception being the fritillary which is partially concealed among the stems. Tulips, roses, columbine, iris or carnations – all thirty flowers are very faithfully rendered, each with its own specific features. (color, installation view).This spectacular flower still life by Ambrosius Bosschaert is one of the masterpieces in his oeuvre. "Alberto Giacometti and Balthus in Gallery 907." The Artist Project: What Artists See When They Look at Art. Balthus: Cats and Girls-Paintings and Provocations." RACAR: Revue d'art canadienne 39, no. Balthus: Catalogue Raisonné of the Complete Works.
Virginie Monnier in Virginie Monnier and Jean Clair. 70, calls it "Jeune fille à la fenêtre (Girl at the Window)" and locates it in a private collection. 26, calls it "Girl at the Window" and locates it in a private collection. Lieberman in Twentieth-Century Modern Masters: The Jacques and Natasha Gelman Collection. Sabine Rewald in Twentieth-Century Modern Masters: The Jacques and Natasha Gelman Collection. "Will Balthus be a Page or a Footnote in Art History?" Sun (March 16, 1984), p. "Pariser Ausstellungen." Das Kunstwerk 37 (April 1984), ill. cat., Centre Georges Pompidou, Musée national d'art moderne. 56, calls it "Jeune fille à la fenêtre (Girl at the Window)" and locates it in the collection of Baron David de Rothschild. 79 (color), 136, calls it "Girl at the Window" and locates it in a private collection.
#JEUNE FILLE A LA FENETRE PLUS#
Geneviève Coste in "Balthus, un pas de plus vers la consécration." Connaissance des arts no. "Balthus and Realism." Studio 166 (October 1963), ill. "Balthus: Cats and Girls-Paintings and Provocations," September 25, 2013–January 12, 2014, no. "Balthus Remembered," March 27–May 27, 2001, no catalogue. "De Matisse à Picasso: Collection Jacques et Natasha Gelman," June 18–November 1, 1994, unnumbered cat. "Twentieth-Century Modern Masters: The Jacques and Natasha Gelman Collection," April 19–July 15, 1990, unnumbered cat. "Twentieth-Century Modern Masters: The Jacques and Natasha Gelman Collection," December 12, 1989–April 1, 1990, unnumbered cat. Centre Georges Pompidou, Musée national d'art moderne.
"Balthus: Paintings and Drawings 1934 to 1977," November 15–December 15, 1977, no. "Paysages et natures mortes de Balthus," June 2–July 8, 1977, no catalogue. 31 (as "Jeune fille à la fenêtre," lent by a private collection, Paris). 30 (as "Jong Meisje aan het Venster," lent by Barones Alix de Rotschild ). 32 (as "Jeune fille à la fenêtre," lent by Baronne Alix de Rotschild ). 13 (as "Jeune fille devant la fenêtre," lent by a private collection). "Peintres d'aujourd'hui: France-Italie," September–November 1961, no.
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