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Willem Kalf, in contrast, was such a friendly and considerate person that his wife said that he cared more for others than for himself. One evening on returning from a visit to Hellemans, Kalf fell over on a bridge: He certainly felt that he had been hurt but not suspecting that it could have such dire consequences he went to bed and lay down by the time the clock struck ten he was a corpse. Wikimedia Commons media related to Willem Kalf How Willem Kalf came to his end There is almost always a Chinese porcelain bowl, often tilted so that the fruits tumble out of it. Usually, a damask cloth or tapestry is draped upon a table on which there is tableware, with gold and silver vessels, many of which have been identified as work of specific goldsmiths, such as Johannes Lutma. Kalf's magnificent still-lifes vary little in their structure, and most of them actually feature the same objects. Like other still-lifes of this period, these paintings were usually expressing vanitas allegories. During the 1640s, Kalf further developed the banketje into a novel form of sumptuous and ornate still-life (known as pronkstilleven), depicting rich groupings of gold and silver vessels. The semi-monochrome still-lifes which Kalf created in Paris form a link to the banketjes or 'little banquet pieces' painted by such Dutch artists as Pieter Claesz, Willem Claeszoon Heda and others in the 1630s. Kalf’s rustic interiors had a large influence on French art in the circle of the Le Nain brothers. The only indication of the French origin of the paintings are a few objects that Flemish exponents of the same genre would not have pictured in their works. Though painted in Paris, those pictures belong to a pictorial tradition practised primarily in Flanders in the early 17th century, by such artists as David Teniers the Younger. Figures usually appeared only in the blurred obscurity of the background. In the 1630s, he went to Paris and spent a long time with the Flemish artists residing in St-Germain-des-Prés. Kitchen Still-life, Dresden, Gemäldegal Alte Meister). Willem Kalf (1619-1693) belonged to a prosperous patrician family from Rotterdam. Kalf’s rustic interiors are typically dominated by groups of vegetables, buckets, pots and pans, which he arranged as a still-life in the foreground (e.g. In Paris he painted mainly small-scale rustic interiors and still-lifes. In the late 1630s, Willem Kalf travelled to Paris and spent time in the circle of the Flemish artists in Saint-Germain-des-Prés, Paris. Kalf was born into a prosperous patrician family in Rotterdam, where his father, a cloth merchant, held municipal posts as well.
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van Gelder’s important archival research has established the painter’s correct place and date of birth. He was previously thought to have been born in 1622, but H. Willem Kalf was born in Rotterdam, in 1619. Later in his life, Kalf became an art dealer and appraiser. Willem Kalf (1619 – 31 July 1693) was a Dutch Golden Age painter who specialized in still lifes.Visit Janna's website (in Dutch) to see lots more of her wonderfully modern and whimsical characters, as well as lovely paintings. he welds the wire frames that Janna wraps with paper strips. Ready for a change, she now enjoys the challenge of creating colorful, three-dimensional papier mache sculptures. Janna studied drawing and painting in art school, and worked mainly with acrylics. just like the live Otto when he's looking for a treat. I love his life-like pose and earnest expression. Made of papier mache by Janneke Neele in Belgium, this Otto has quite the shiny coat of many colors. meet another Otto! (yep, that's his name too) We're all smitten with him because he's so friendly and well-mannered, not to mention cute.Īnd now. Meet Otto, the sweet pup my son and his girlfriend (remember her thumbprint paper cuttings?) adopted several months ago. my Fab Friday posts are supposedly only one picture, but first I must show you what prompted today's feature.