Painting of the Day: A Garland of Flowers Surrounding a Cartouche

Still Life
Jan Pauwel Gillemans
Flanders (Stupid Flanders)
Mid-Seventeenth Century
The Victoria & Albert Museum

This lush painting is the work of the rather mysterious painter Jan Pauwel Gillemans the Elder (1618-1675). We don’t know too much about this son of a goldsmith who spent his entire life in his native Antwerp. Beyond those few sketchy details, we only can guess about his life based on his work and that of his son, Jan Pauwel Gillemans the Younger (1651-1704) who was also a still-life painter.

Gillemans the Elder was of the “Flemish Stuff on a Table” school of still-life painting. He excelled at depictions of fruit and flowers and used these as a way of hinting at Biblical subject matter. For instance, in the piece pictured above, the fruits and flowers that he has selected allude to the Passion of Christ and have overtones of the Eucharist. The blooms surround a cartouche containing a representation of an angel, and, an eagle sits above the entire composition.

Let’s see if we can read Gillemans’ message. He’s allowed the lower portion of the composition to be overtaken by spiky plants and those with thorns—roses, thistles, hawthorn, blackthorn, rose-hips and raspberries, all of which signify the Crown of Thorns. Above this, we have grapes, wheat stalks, corn, poppies, cornflowers and narcissus—bountiful symbols which work in conjunction with the chalice. The eagle, of course, is a representation of the Resurrection. The butterflies signify the same.

I’m not sure about the parrots. I think they’re just there because they’re groovy.

Besides, those Flemish…they’d put a bird on a table whenever they got a chance. I’m just happy to see these parrots are alive and not in a state of decay like most of the birds in Flemish paintings.

Painting of the Day: A Garland of Flowers Surrounding a Cartouche

Still Life
Jan Pauwel Gillemans
Flanders (Stupid Flanders)
Mid-Seventeenth Century
The Victoria & Albert Museum

This lush painting is the work of the rather mysterious painter Jan Pauwel Gillemans the Elder (1618-1675). We don’t know too much about this son of a goldsmith who spent his entire life in his native Antwerp. Beyond those few sketchy details, we only can guess about his life based on his work and that of his son, Jan Pauwel Gillemans the Younger (1651-1704) who was also a still-life painter.

Gillemans the Elder was of the “Flemish Stuff on a Table” school of still-life painting. He excelled at depictions of fruit and flowers and used these as a way of hinting at Biblical subject matter. For instance, in the piece pictured above, the fruits and flowers that he has selected allude to the Passion of Christ and have overtones of the Eucharist. The blooms surround a cartouche containing a representation of an angel, and, an eagle sits above the entire composition.

Let’s see if we can read Gillemans’ message. He’s allowed the lower portion of the composition to be overtaken by spiky plants and those with thorns—roses, thistles, hawthorn, blackthorn, rose-hips and raspberries, all of which signify the Crown of Thorns. Above this, we have grapes, wheat stalks, corn, poppies, cornflowers and narcissus—bountiful symbols which work in conjunction with the chalice. The eagle, of course, is a representation of the Resurrection. The butterflies signify the same.

I’m not sure about the parrots. I think they’re just there because they’re groovy.

Besides, those Flemish…they’d put a bird on a table whenever they got a chance. I’m just happy to see these parrots are alive and not in a state of decay like most of the birds in Flemish paintings.

Object of the Day, Museum Edition: The Mermaid Ewer, 16th Century

Ewer
The Victoria & Albert Museum

Made between 1550 and 1600, this ewer would have been used to pour and carry water, and, so that it would be both decorative and functional, it has been given a fitting nautical visual theme. Cast in the form of a mermaid, the ewer boasts an elaborate design which suggests that it was a commission from a wealthy patron.

For two centuries before this was commissioned, medieval craftsmen in Flanders (Belgium) were known for their brass castings of fanciful creatures. This ewer keeps that tradition alive.

Fox Broadcasting

I thought we would devote today's posts to the work of Flemish artists.  Though I always make a joke of the Flanderseses because of my love of The Simpsons, and their chipper neighborino Nedward Flanders, just know I have a deep affection for the works of the people of this historical region.  So, when I say, "Stupid Flanders," and I'm bound to, that's all I mean.

Painting of the Day: A Garland of Flowers Surrounding a Cartouche

Still Life
Jan Pauwel Gillemans
Flanders (Stupid Flanders)
Mid-Seventeenth Century
The Victoria & Albert Museum

This lush painting is the work of the rather mysterious painter Jan Pauwel Gillemans the Elder (1618-1675). We don’t know too much about this son of a goldsmith who spent his entire life in his native Antwerp. Beyond those few sketchy details, we only can guess about his life based on his work and that of his son, Jan Pauwel Gillemans the Younger (1651-1704) who was also a still-life painter.

Gillemans the Elder was of the “Flemish Stuff on a Table” school of still-life painting. He excelled at depictions of fruit and flowers and used these as a way of hinting at Biblical subject matter. For instance, in the piece pictured above, the fruits and flowers that he has selected allude to the Passion of Christ and have overtones of the Eucharist. The blooms surround a cartouche containing a representation of an angel, and, an eagle sits above the entire composition.

Let’s see if we can read Gillemans’ message. He’s allowed the lower portion of the composition to be overtaken by spiky plants and those with thorns—roses, thistles, hawthorn, blackthorn, rose-hips and raspberries, all of which signify the Crown of Thorns. Above this, we have grapes, wheat stalks, corn, poppies, cornflowers and narcissus—bountiful symbols which work in conjunction with the chalice. The eagle, of course, is a representation of the Resurrection. The butterflies signify the same.

I’m not sure about the parrots. I think they’re just there because they’re groovy.

Besides, those Flemish…they’d put a bird on a table whenever they got a chance. I’m just happy to see these parrots are alive and not in a state of decay like most of the birds in Flemish paintings.

Painting of the Day: “The Adoration of the Kings,” by Jan Gossaert, 1510-1515

Adoration of the Kings
Jan Gossaert, 1510-1515
The National Gallery, London

Jan Gossaert, also known as “Mabuse,” was one of the first Sixteenth Century Flemish painters to travel from Flanders to Italy in order to study the work of Italian Renaissance painters. He employed the methods that he learned from the Italians to produce stunning, monumental paintings upon returning to his homeland.


This tremendous painting entitled The Adoration of the Kings dates between 1510 and 1515 and was painted as an altarpiece for the Lady Chapel at St. Adrian’s at Grammont which is near Brussels in present-day Belgium. As was typical of Italian paintings of the era, Graesart has included a contemporary sitter into the composition. The figure of the king, Caspar, was modeled after Johannes de Broemer who was appointed Abbot of St. Adrian’s in 1506 and who most likely commissioned the painting.

The scene shows the Christ Child and the Holy Family being visited by the Magi. Above the Holy Family, the famed star shines brightly—symbolizing God, the Father. From the star, the Dove of the Holy Spirit, descends toward the Holy Family as throngs of angels hover above.

The painting has always been heralded for its magnificent colors and Gaesart’s ability to render realistic looking fabrics and textures. Today, the piece is housed in the National Gallery in London.

Painting of the Day: A Sixteenth-Century Flemish Portrait

Rendered in thick strokes of rich greens, umbers and yellows, this portrait of a young man most likely comes from the County of Flanders and dates to the late Sixteenth Century. The County of Flanders overlapped parts of present-day Belgium. We can tell this painting is Flemish by the style of the young man’s cap and dress. Artist’s apprentices of the time were attired in outfits such as this.

With his sullen, expectant expression, the subject radiates an adolescent insecurity—the emotions of someone learning a craft during an uncertain time. Still in its original frame, the painting is flanked by leather straps which form a decorative pattern around the canvas. An unusual find, I am fond of this painting because of the raw emotion that it exhibits. Here is proof of the mastery of Flemish painting—the ability to create a fully formed portrait from a limited color palette and loose brush strokes.