Jan Brueghel the Elder is a great Dutch artist and painter. One of the most famous artists of several generations of Bruegel artists. Son and brother. One of his sons was also a great painter. Jan Brueghel the Elder was also called Velvet and Floral for the manner of his painting and floral motifs in the paintings, which distinguished him from the paintings of other members of the famous family.
Jan Brueghel Velvet was born in Brussels in 1568. His teachers were Peter Gutkint and Gillis van Connixloe. And yet, the art of his father Peter had a greater influence on his work. His paintings, despite the great influence of the style characteristic of his father and brother, Flemish painting, have something of their own that belongs only to him - Yan Tsvetochny. So, the most famous are the paintings, which depict magnificent landscapes with small people, which serve only to revitalize the most beautiful nature. Also famous are his still lifes, which are dominated by floral themes and great detail in every detail. I must say that the flowers that Jan Brueghel the Elder wrote grew in the royal greenhouse, where he had access. Most of the flowers were extremely rare, unusual for the places where he was born and lived. Brueghel the Velvet painted paintings on mythological themes and allegories characteristic of that time. He was very friendly with Peter Paul Rubens, who considered Jan practically his brother.
Jan Brueghel the Elder died in 1625 of cholera. Together with him, his three children Elizabeth, Maria and Peter also became victims of the epidemic.
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Allegory of the earth
Allegory of abundance
Temptation of St. Anthony
Forest landscape with the conversion of St. Eustache
Still life with flowers in a glass vase
Still life with flowers
Noah Gathers Animals for the Ark
Landscape with two windmills
Landscape with peasants
Feast of Aheloy
Paradise on earth
A wedding dance
holy family
: [ˈjɑn ˈbrøːɣəl]) (, Brussels - January 13, Antwerp) - a famous South Dutch (Flemish) artist. Son of Pieter Brueghel the Elder, brother of Pieter Brueghel the Younger.
Biography
In 1601-1602. Jan Brueghel the Elder served as dean of the Guild of St. Luke, visited Prague in the city, and later worked at the Brussels court of the governors of the Spanish Netherlands Albrecht and Isabella, which is mentioned, dated to
Jan Brueghel the Elder died in 1625 from cholera, three of his children became victims of this disease along with him ( Peter, Elizabeth and Mary).
Creation
The creative heritage of Jan Brueghel the Elder includes many magnificent landscapes with small human figures enlivening pictures, sometimes on biblical subjects. Jan Brueghel is famous for his detailed depictions of flowers in the form of still lifes or floral wreaths. Thanks to his patroness, the Archduchess, the artist had access to the royal greenhouses, where the rarest plants were grown. He always painted from nature and waited for many months for this or that plant to bloom. Jan Brueghel also painted a large number of paintings on mythological themes and allegories, such as " Four elements and five senses» ( - , together with Rubens). Rubens considered Jan Brueghel to be his elder brother.
Genealogy
| Pieter Brueghel Senior |
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| Pieter Brueghel Jr | Jan Brueghel Senior | Marie Brueghel | |||||||||||||||||||||||||||||
| Ambrosius Brueghel | Jan Brueghel Jr | Anna Brueghel | David Teniers Jr |
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| Abraham Brueghel | |||||||||||||||||||||||||||||||
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Notes
Literature
- // Encyclopedic Dictionary of Brockhaus and Efron: in 86 volumes (82 volumes and 4 additional). - St. Petersburg. , 1890-1907.
- S. Zuffi. Large atlas of painting. - M .: Olma-Press, 2002. - S. 154. - 431 p. - ISBN 5-224-03922-3.
- E. Meshcherina. Western European genre painting. - M ., 2006. - S. 44.
- Helge Siefert, Zum Ruhme des Helden. Historien- und Genremalerei des 17. und 18. Jahrhunderts, München 1993
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An excerpt characterizing Brueghel, Jan (the elder)
Before the battle of Borodino, our forces were approximately in relation to the French as five to six, and after the battle as one to two, that is, before the battle one hundred thousand; a hundred and twenty, and after the battle fifty to a hundred. And at the same time, the smart and experienced Kutuzov accepted the battle. Napoleon, the brilliant commander, as he is called, gave battle, losing a quarter of the army and stretching his line even more. If it is said that by occupying Moscow he thought he would end the campaign by occupying Vienna, then there is much evidence against this. The historians of Napoleon themselves say that even from Smolensk he wanted to stop, knew the danger of his extended position, knew that the occupation of Moscow would not be the end of the campaign, because from Smolensk he saw in what position the Russian cities were left to him, and did not receive a single answer to their repeated statements about their desire to negotiate.Giving and accepting the Battle of Borodino, Kutuzov and Napoleon acted involuntarily and senselessly. And historians, under the accomplished facts, only later summed up the intricate evidence of the foresight and genius of the generals, who, of all the involuntary tools of world events, were the most slavish and involuntary figures.
The ancients left us models of heroic poems in which the heroes are the whole interest of history, and we still cannot get used to the fact that for our human time this kind of history has no meaning.
To another question: how the battles of Borodino and the Shevardino battles preceding it were given - there is also a very definite and well-known, completely false idea. All historians describe the case as follows:
The Russian army, as if in its retreat from Smolensk, was looking for the best position for itself for a general battle, and such a position was allegedly found at Borodin.
The Russians allegedly fortified this position forward, to the left of the road (from Moscow to Smolensk), at almost a right angle to it, from Borodino to Utitsa, on the very spot where the battle took place.
In front of this position, a fortified advanced post on the Shevardinsky barrow was allegedly put up to observe the enemy. On the 24th, Napoleon allegedly attacked the forward post and took it; On the 26th, he attacked the entire Russian army, which was in position on the Borodino field.
So the stories say, and all this is completely unfair, as anyone who wants to delve into the essence of the matter will easily be convinced of.
The Russians did not look for a better position; but, on the contrary, in their retreat they passed many positions that were better than Borodino. They did not stop at any of these positions: both because Kutuzov did not want to accept a position that was not chosen by him, and because the demand for a popular battle had not yet been expressed strongly enough, and because Miloradovich had not yet approached with the militia, and also because other reasons that are innumerable. The fact is that the former positions were stronger and that the Borodino position (the one on which the battle was given) is not only not strong, but for some reason is not at all a position more than any other place in the Russian Empire, which, guessing, one would point with a pin on the map.
The Russians not only did not fortify the position of the Borodino field to the left at a right angle from the road (that is, the place where the battle took place), but never before August 25, 1812 did they think that the battle could take place on this place. This is evidenced, firstly, by the fact that not only on the 25th there were no fortifications in this place, but that, begun on the 25th, they were not completed on the 26th; secondly, the position of the Shevardinsky redoubt serves as proof: the Shevardinsky redoubt, in front of the position on which the battle was taken, does not make any sense. Why was this redoubt fortified stronger than all other points? And why, defending it on the 24th until late at night, were all efforts exhausted and six thousand people lost? To observe the enemy, a Cossack patrol was enough. Thirdly, the proof that the position on which the battle took place was not foreseen and that the Shevardinsky redoubt was not the forward point of this position is the fact that Barclay de Tolly and Bagration until the 25th were convinced that the Shevardinsky redoubt was the left flank of the position and that Kutuzov himself, in his report, written in the heat of the moment after the battle, calls the Shevardinsky redoubt the left flank of the position. Much later, when reports about the battle of Borodino were written in the open, it was (probably to justify the mistakes of the commander in chief, who had to be infallible) that unfair and strange testimony was invented that the Shevardinsky redoubt served as an advanced post (whereas it was only a fortified point of the left flank) and as if the battle of Borodino was accepted by us in a fortified and pre-selected position, while it took place in a completely unexpected and almost unfortified place.
Jan Brueghel the Elder (1568-1625) was a famous Flemish painter belonging to the famous Brueghel dynasty. Received the nicknames "Velvet" and "Flower".
"Flower" he was nicknamed for colorful and detailed images of flowers. Brueghel's work actively responded to the tendencies and ideas of "plebeian" or peasant themes in academic painting that were in the air. Jan's works in the aggregate represent a wide range of genres and subjects: landscapes, stories on biblical and mythological themes, still lifes, miniatures.
Biography
Jan Brueghel was born in Brussels in 1568, the exact date of birth is unknown. Jan's father, Pieter Brueghel the Elder, is a famous Flemish painter, engraver and draftsman, the founder of a family dynasty of artists. Jan was the second son in the family. He was left without parents early: the next year after he was born, his father died, and his mother died in 1578. The boy was brought up by his grandmother Maria Verhulst, who was engaged in the creation of miniatures and was known as a talented artist who depicted flowers. It was his grandmother who taught him drawing, from her he adopted a craving for flowers.
From one artistic family, he moved to another, to Antwerp. He studied oil painting in a workshop headed by Peter Gutkind. In addition to his creative activities, he traded in works of art. Such an environment favored the fact that the young artist carefully became acquainted with the trends and genres prevailing in Dutch painting. Yang early showed talent and some independence, consciously moving away from the style that was created by his father. Having set out to get to know the painting of Western Europe more closely, Jan decided to travel.
In 1589, Jan studied samples of national schools of painting in Cologne and Paris. He then settled in Italy for about five years. For most of his stay in Italy, he lived in Rome, where he became the informal leader of a community of artists from the north of Europe. In Milan, Brueghel makes acquaintance with Cardinal Federico Borromeo. The latter, a great admirer and connoisseur of art, appreciated the talent of the young artist. The cardinal began to patronize Jan Brueghel. The artist wrote most of his flower still lifes for the cardinal. They mutually maintained the established friendly relations until the last days of Jan.
Then the artist returns to Antwerp again. In 1597, he joined the Guild of St. Luke, after 5 years, Jan received the post of dean of the guild.
From 1606, he received the appointment of a court painter in Brussels. Thanks to this post, he can open and maintain his own art workshop. Yang was popular: patrons lined up to order works from him, artists sought his cooperation. The Brueghel House, famous for its art collections, was known as a city landmark, which all visiting masters and eminent foreigners aspired to visit.
Over the years, Jan's workshop has grown due to orders that came to him from all over Europe. In the last years of the artist's life, a huge number of replicas of his famous flower still lifes were created in the studio.
In 1625, an epidemic of cholera broke out in Antwerp, which claimed the artist and his three younger sons. The workshop passed to the eldest son, to Jan Brueghel the Younger, who became the successor of his father's work.
Velvet & Floral
It is not known for certain why Jan Brueghel was nicknamed Velvet. Some researchers believe that he owes his nickname to the craving for velvet clothes. Others attribute the nickname to the special handwriting of his works - the “velvety” of the canvas. Yang created this effect by masterfully combining and juxtaposing various tones into a "floral" harmony.
Jan Brueghel also has the nickname "Flower". It is honestly deserved for the artist's amazing skill in depicting flowers. A. Benois said that in the canvases the artist conveyed the soul of flowers, and not just their bright and fresh colors and shapes.
Creation
Brueghel was subject to all genres of "cabinet" painting. Still life, especially floral, animalistic genre, landscape, allegory, subjects devoted to religion and myths. Jan supported the fantastic plot with realistic details. The artist loved nature with all his heart. A great many sketches and sketches have been preserved, which depict herbs and flowers, animals and birds in all sorts of ways. He worked with flowers like a professional botanist. In February, the artist began his forays around the city in search of the first or rare flowers. Until the middle of summer, Jan Brueghel devoted himself to still lifes with flowers. Then he moved on to landscapes.
Jan's landscapes are characterized by subtle color harmony. He often diluted the delicate greenery with bright patches of human figures, but the landscapes did not become colorful.
Particular success among the artist's contemporaries was caused by allegories depicting 5 feelings. Thanks to this popularity, various variations of these allegories have come into being. These allegories were made in collaboration with Rubens. Rubens called Jan his older brother.
Pieter Brueghel the Elder. Tower of Babel. 1563 Kunsthistorisches Museum, Vienna, Austria.
Brueghel I (1525/30 - 1569) often called successor. Yes, at first glance, some of their work is similar. Brueghel, like Bosch, created crowded canvases.
But still they are different. As the artist and writer Maxim Kantor accurately noted, they are as different as. Both are avant-garde. But one is about squares, the other is about love.
Bosch is a medieval surrealist. Him . Brueghel is a realist. He has ordinary people, townspeople, beggars. Strange creatures in his paintings are a rarity.
Bosch has refined, thin figures. Brueghel has thickset peasants. In this, Brueghel was influenced more by Michelangelo than by Bosch.
Bosch - about the fear of the fall. Brueghel is about human stupidity and the vanity of life.
There are too many differences to put Bosch and Brueghel on a par.
Here are just a few of Brueghel's masterpieces. They will help you get to know such a unique painter as Pieter Brueghel the Elder.
1. The fall of Icarus. 1558
Pieter Brueghel the Elder. Fall of Icarus. 1558 Royal Museum of Fine Arts, Brussels, Belgium The painting is called "The Fall of Icarus". But where exactly is Icarus?
In the foreground is a plowman. On the middle - a shepherd with sheep. Ship. In the distance - the sea and mountains.
Oh yes, in the lower right corner between the fisherman and the ship is Icarus who fell into the sea. He was almost submerged in the water. Only his legs are still visible. And a few feathers swirl around.
Pieter Brueghel the Elder. Falling Icarus. Fragment. 1558 Royal Museum of Fine Arts, Brussels, Belgium Why such neglect of the main character?
It is believed that this is how Brueghel illustrated the folk wisdom “No plow will stop until someone dies.”
Brueghel portrayed that no one noticed the death of the young man. Not a fisherman, not a plowman, not a shepherd. None of them quit their job. The ship also passed by. Such indifference of the world to the tragedy of one person is discouraging.
Such was the world of Brueghel. Has he changed since then?
2. Flemish proverbs. 1559
Pieter Brueghel the Elder. Flemish proverbs. 1559 Berlin Art Gallery, Germany. wikipedia.org Amazing picture. 119 illustrations for proverbs.
Some scenes are easily deciphered even without knowledge of Flemish folklore. Others without this knowledge will not understand.
On the left fragment, a man carries a steam basket. Obviously doing something pointless. The saying “carry steam in a basket” just means “wasting time”.
But on the right fragment, a woman puts a blue cloak on a man. There is no logic for modern man here. In Brueghel's time, this meant cheating on her husband.
The picture also comes across several monsters in the spirit of Bosch. But only to illustrate the proverbs.
On the left we see a saying about people who are “able to tie the devil to a pillow”, which means to be very stubborn. On the right we see a comrade who “holds a candle to the devil”, which means he is ready to flatter and be friends, if only there was a benefit. And one more “Confesses to the devil”, which means he is a traitor. He's giving secrets to the enemy.
The second name of the painting is “The World Upside Down”. Brueghel showed the world of people, exposing all its vices. A world where people do meaningless things. A world where people make friends for profit. A world where betrayal is at every turn.
Vivid satire by Brueghel. Funny and sad at the same time.
3. Tower of Babel. 1563
Pieter Brueghel the Elder. Tower of Babel. 1563 Kunsthistorisches Museum, Vienna, Austria. wikipedia.orgThe Tower of Babel combines panoramic and miniature painting in an incredible way.
The details of the picture are simply amazing. Try to find these mid-ground fragments here. A challenge for the most patient.
On the left is a 16th century crane. To the right is part of the city behind the Tower of Babel. A cart is driving across the bridge, women are rinsing clothes.
You can also see that there are a lot of makeshift houses along the walls. But judging by the female figures and hanging linen, families of workers have already moved into them. It already looks more like an anthill than a majestic tower.
Pieter Brueghel the Elder. Tower of Babel (detail). 1863 Kunsthistorisches Museum, Vienna, Austria. Cheger.livejournal.com Doesn't it still seem strange to you that construction is going on at almost every level? It would seem that the lower levels should have already been completed, and work should be carried out only at the top.
But no, work is in full swing everywhere. Obviously people don't understand each other. Therefore, they cannot agree on how best to build the tower.
But at the very least, they manage to maintain the integrity of the building. And even live in it with their families.
Despite the misunderstanding of each other, in the end we manage to save our fragile human world. All in patches, all in scaffolding. But he continues to stand.
4. Hunters in the snow. 1565
Pieter Brueghel the Elder. Snow hunters. 1565 Kunsthistorisches Museum, Vienna, Austria. wikipedia.org “Hunters in the Snow” is one of the main masterpieces. What is so special about it?
The space of the picture is slightly concave inward. As if drawn on the inner surface of a giant bowl. The effect of incredible, “sucking” depth.
Of course, Brueghel intentionally distorts perspective. Otherwise, he would not have fit everything in such a limited space.
As in the "Tower of Babel", Brueghel works out every detail. Enlarge any part of the picture, and you have a whole work of art in front of you.
Did you know that there is a scene of a fire and a curling game in the painting “Hunters in the Snow”? All this happens in the background.
This masterpiece no longer contains the satire of Proverbs, the tragedy of Icarus, and the beautiful legend of the Tower of Babel. But there is a picture of the world where man and nature coexist well.
Despite the fact that the hunters return with meager prey (with one skinny fox), quiet joy emanates from the picture. Small worries and games of people combined with grandiose mountains and snowy valleys.
The world is not at all hostile to man. On the contrary, if you respect his greatness and adapt, he will give you everything you need.
An unexpected philosophy for the time in which Brueghel lived. Then America was already discovered. People became more and more convinced of their own superiority. And they thought less and less about unity with nature.
Such was Brueghel. He rarely thought in tune with his era.
5. Peasant wedding. 1568
Pieter Brueghel the Elder. Peasant wedding. 1568 Kunsthistorisches Museum, Vienna, Austria. commons.wikimedia.org “Peasant Wedding” is one of the most joyful Brueghel paintings. It is thanks to such works that the artist is often called Brueghel Muzhitsky.
Besides him, no one else portrayed the peasants. Just imagine, such a picture was created when only goddesses and aristocrats were painted!
The painting is also densely populated. However, here we see many more unique faces. With individual traits. These are no longer caricatures of “Proverbs” and not generalized images, like “Hunters”.
What else unusual do you see? Do you really not see? Where is the bride and groom?
Bride in a black dress with a thin wreath on her head. She was so pleased that she closed her eyes. But the groom is harder to find.
There are many assumptions. I prefer the version that the groom is a young man filling a jug. He is quite young, well dressed. Even in those days, it was customary to serve the bride and her relatives at the wedding. Apparently, this is what he is doing.
Even from this picture it is easy to understand the special style of Brueghel. See how he uses color. Red jacket. White apron. Green carpet. No complex shades and layering.
It is amazing. After all, Brueghel created when Mannerism was already taking shape. When pretentiousness and stylization were highly valued. Brueghel, on the other hand, preferred to tell complex things in simple language.
6. The parable of the blind. 1568
Pieter Brueghel the Elder. The Parable of the Blind. 1568 Capodimonte Museum, Naples, Italy. wikipedia.org “The Parable of the Blind” is one of the last works of Brueghel. He died in 1569, having lived for about 40 years (the exact date of the artist's birth is not known).
Before us are six blind men holding each other. The leader had already fallen into the pit, followed by his comrade. The rest are on their way. The latter do not yet know what happened. But we already know what will happen to them.
The moral is simple. It is found in the Bible "If the blind lead the blind, then both of them will fall into the pit."
We can see a string of blind people in the Flemish Proverbs. Only there you can hardly distinguish them.
What made Brueghel dedicate a whole picture to this subject?
The answer can be found in the history of the Netherlands.
It was the most difficult time in the history of the country. The revolution had just begun, the purpose of which was to gain independence from Spain.
But contradictions tore the Netherlands from within. Someone was loyal to the Spanish king. Some were for independence. One wanted to remain a Catholic. And his neighbor was eager to make the country Protestant.
Dozens of leaders pulled followers. And led them to death. Burned at the stake disloyal to the king. Catholics were killed. Protestants were executed.
That's what "The Parable of the Blind" is about. This is Brueghel's warning, his testament to future generations. There are no right and wrong. Do not be a blind man who mindlessly follows a bold and loud-voiced, but essentially the same blind man.
7. Brueghel in Russia
There are no paintings by Pieter Brueghel the Elder in Russia. But he had wonderful offspring. His son Peter copied many of his father's paintings before developing his own style. His other son and grandchildren also became artists.
Brueghel is a brilliant artist.
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Bouquet of flowers in a blue vase, circa 1608. Oil on oak board, 66x50.5 cm. Kunsthistorisches Museum, Vienna.
Jan Brueghel the Elder, nicknamed the Velvet, was also called the Flower: his numerous bouquets and flower garlands were painted with such skill that many eminent artists invited Jan Brueghel the Velvet-Flower to collaborate: paint flowers in their paintings on different subjects. The most famous and virtuoso painter with whom Brueghel the Velvet had a chance to collaborate is Peter Paul Rubens. But today we will consider only those flower compositions that were written personally by Bruegel the Velvet. All his bouquets can be roughly divided into three types: the first is high bouquets, such as the wonderful composition with black iris at the top of the post. Two other tall bouquets from the Kunsthistorisches Museum in Vienna by Jan Brueghel the Elder I have already mentioned in
One of these bouquets was in a wooden tub, and among the flowers in the center was placed a hazel grouse, which is also called the royal crown. There are two author's repetitions of this still life by Brueghel the Velvet - in the Alte Pinakothek in Munich and in the Rijksmuseum in Amsterdam. Repetitions are written with differences in details. I place all three options below so that those who like to look for differences can practice.))) All the pictures below are clickable.
Jan Brueghel Velvet. Flowers in a wooden vessel, 1606-1607. Oil on wood, 98x73 cm. Kunsthistorisches Museum, Vienna.
Jan Brueghel the Elder. Bouquet of flowers, between 1600-1625. Oil on wood, 125x96 cm. Alte Pinakothek, Munich; Still life with flowers, 1600-1630. Oil on wood, 113.7 x 86.4 cm. Rijksmuseum, Amsterdam.
The composition with black iris, lilies and hydrangeas, also an example of a high bouquet, and another one with hazel grouse and sunflowers crowning the bouquet, were painted by Brueghel the Velvet at about the same time and, judging by the same technique, size and format, they could be paired:
Brueghel Velvet. "Flowers in a Vase" and "Flower Vase", 1600-1625. Oil on canvas, 181x70 cm. Prado, Madrid
Two more author's versions of a still life with tulips and roses in a Chinese vase from different museums. They also differ in the basis for painting: a bouquet from the Mauritshuis gallery is painted on wood, and a bouquet from the Prado Museum is painted on a copper plate:
Flowers in a vase by Wan Lee, circa 1600-1615. Oil on wood, 42×34.5 cm. Mauritshuis Royal Gallery, The Hague; Flowers in a vase with butterflies, 1600-1625. Copper, oil, 48x35 cm. Prado Museum, Madrid.
Still lifes with roses in a Chinese vase are a different type of bouquet, more modest, low and with few flowers. Of the same type - an elegant composition with roses, tulips and bindweed in a glass vase from the Prado Museum:
Brueghel Velvet. Vase with flowers, 1600-1625. Wood, oil, 41x33 cm. Prado, Madrid.
Small elegant bouquets of different flowers in the same glass can be conditionally attributed to the same type. The last picture, from Ambrosiana - my photo from their catalog - is not very pleased with the quality, but it is impossible to get better.
Brueghel Velvet. Still life with flowers in a glass, 1600-1625. Copper, oil, 24.5x19 cm. Rijksmuseum, Amsterdam; Flowers, v.p. 16th century Oil on wood, 49x39 cm. Prado Museum, Madrid.
Brueghel Velvet. Flowers in a glass, circa 1618. Oil on copper, 43x30 cm. Pinacoteca Ambrosiana, Milan.
Type of horizontal composition with lying flowers:
Flowers in a bowl, 1615. Oil on wood, 44x66 cm. Prado, Madrid.
A similar composition in the same stone bowl was written by the son of Brueghel the Velvet - Jan Brueghel the Younger (1601-1678):
Jan Brueghel the Younger. Bowl with flowers, before 1630. Oil on wood, 44.5 × 71.5 cm. National Museum, Gdańsk.
Floral compositions, as well as landscapes, by Jan Brueghel the Younger are presented mainly in private collections, there are many pictures from auctions, but given that information about them is incomplete and unconfirmed, I do not cite them so as not to spread dubious information - there are too many auction scandals. works of this time, I do not want to support them and bring chaos to information about the heritage of the Brueghel family.
Two more examples of compositions with lying flowers by Jan Brueghel the Velvet:
Brueghel Velvet. Flowers in a Basket and a Vase, 1615. Oil on wood, 55.2x89.1 Washington National Gallery.
Brueghel Velvet. Flowers on a plate, 1600-1625. Wood, oil, 43x33 cm. Prado, Madrid.
I will complete the story of flower still lifes from the Bruegel family with a luxurious baroque still life of Abraham Brueghel (1631–1690/1697) - the son of Jan Brueghel the Younger, the grandson of Jan Brueghel the Elder (Velvet) and the great-grandson of Pieter Brueghel the Elder (Peasant):
Abraham Brueghel. Fruit and flowers, between 1670-1680. Oil on canvas, 75.5 × 97.5 cm. Boijmans-van Beuningen Museum, Rotterdam.
