Observing The Details
Still Life and the Art of Looking at the World
Tracing the movement from symbolic meaning to post impressionist observation
Trystan Lewis 2025 4576
Still Life: An Introduction
From painting what fruits are edible on cave walls to the works of the Dutch Masters, Still Life has been at the bones of art in all its forms throughout history. According to the Tate, Still Life is defined as a genre of art that ‘ can be a celebration of material pleasures such as food or wine, or often a warning of ephemerality of these pleasures and the brevity of human life’.
My aim in this essay is to delve into the historic meaning and examples of some of the most iconic Still Lives and movements since the 16th century, I will be looking at the work of Willem Claesz Heda, an artist who looks at the deeper meaning behind his still lives, including the metaphorical
meaning of the objects they contain and their significance in the then newly Protestant Netherlands, presenting questions that can no longer be unwaveringly answered by Christianity. This is compared to Cézanne and Picasso’s postimpressionist works which came to rise through the invention of photography. Artists that look at different ways of viewing the world rather than how to interpret it like Heda does. Cézanne does this with innovative simplicity and Picasso with his renowned abstraction.
Still Life still holds strong today in the contemporary works of Marcel Duchamp and Sam Taylor wood
Willem Claesz Heda
In the 17th century, there was, what is regarded by modern art historians as one of the greatest art movements in history (only rivalled by the invention of photography which I shall go on to talk about later in the essay). As old ideals crumbled, the field of the European arts shifted with blind faith starting to waver as Protestant and Catholic ideals clashed, only weakened by the continuing advances in science.
In 1669 the French Academy of Art released a hierarchy of art genres organised by their importance in the then ‘ new world’ Still Life somehow found its way to the bottom underneath portraits and religious art, as Christian Europe still pushed less symbolic art aside in favour of works that linked to the divine or those in power Evidence of this is shown by roughly one third of the paintings in the National Gallery's collection of Western European art being religious in some nature [9], compared to still lives that don't even come close to this proportion Sadly, this has resulted in many worthy artists going unnoticed and many pieces not getting the attention they deserve
The Dutch Golden Age is one of the most meaningful art movements, with lavish detail, many of these paintings look into what gives things value beyond their material use This time period gave us some of the most renowned still lives and artists still known today. One of the most notable of which was Willem Claesz Heda who produced the well known, ‘Still Life With A Gilt Cup’ as shown right. [4]
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Painted in 1635 during the height of the Dutch golden age, ‘Still Life with a Gilt Cup’ is one of the finest oil works I have come across, especially from the century it was produced. Heda’s attention to detail is immense, seen clearly by the reflections of imagined windows found on both the pewter jug and roemer A roemer being a wine glass (in this case green) that has glass bumps on the wider than usual stem that helped keep a firm grip after it has been refiled a few to many times. This accomplishment of detail is also seen with the inclusion of a peeled lemon that, while common among many still lives for this reason, is a true demonstration of the artist’s mastery of texture, line and partial opacity
It is a unanimous agreement that ‘Still Life with a Gilt Cup’ is a painting of a lavish breakfast abandoned quickly as if due to sudden death or protestant restraint, noted by the oysters which were a staple on any high society breakfast table, but also the pepper found balancing dangerously on the edge of the table, which at the time was so expensive that it resulted in the creation of the Dutch idiom ‘peperduur’ meaning as expensive as pepper, showing that whoever’s breakfast this was must have had quite the extravagant lifestyle. Besides just being an attractive snapshot in time, this boozy breakfast has a far deeper meaning.
Many objects in still life paintings carry symbolic meanings that would have been readily understood by 17th-century Dutch viewers.
This is what is known as a ‘vanitas’; still life artwork which includes various symbolic objects designed to remind the viewer of the worthlessness of worldly goods ‘Still Life with a Gilt Cup’ symbolises both the ups and downs of life as a whole, making it what is known as a memento mori, an artwork designed to remind the viewer of the fragility of human life as well as its shortness. [1] The lemons represent life's bitterness, the oysters desire and temptation, both of which are common place in a Dutch still life of this time period The glass reembodies life's fragility and deaths irreversible nature. The bread could be symbolising how cramped (full) life can be, barely fitting on the table as if there isn’t enough space for all that needs to be there I originally saw it as representing eucharist (religion) and it’s balancing over the edge as if the fall of religion could be near, however Heda could not have known that the Age of enlightenment was just around the corner. So much like a lot of the meaning with many pieces, it was imbued long after the piece was created [11]
Some historians have also argued that this piece boasts about the prosperity of the Dutch during this period as its painting coincided with when the Netherlands were at the height of their trading empire, this is reflected in the worldly objects of which it contains. Incorporation of exotic objects, like the Indian pepper and Mediterranean lemons, serving as status symbols and reminders of their global trade and wealth.
Cézzane
In the 19th century there was an abrupt movement away from the deeper symbolic meaning of still lives and a great exploration into the ideas of observation and interpretation, less to do with the mind and more with the eyes. Still Life became more about aesthetics and formal exploration than deeper symbolism. Photography, as we know it, was first invented in the early 19th century, with the first photograph being taken by Joseph Nicéphore Niépce in 1826, [10] which falls exactly where this movement is believed to have started, kicking out the need for paintings to capture images with an exact likeness and allowed more exploration into form and individual technique This is shown quite heavily in the works of Cézanne who pioneers a greater exploration of perspective, light and colour This movement was not only spurred on by photography, but is also in keeping with a global shift that was spurred on in the 1760s by the industrial revolution resulting in a change in people's views on art as well as life.
Cézanne had a radical approach to still life, elevating the subject and celebrating the quotidian in a way that had very rarely been seen before. While there have been many artists that have created still life pieces, Cézanne is alone with this subject matter being the most precedent throughout his career So far, still life had been seen as academic, or as an area of practice and training He was one of the first to make it fun and a discipline in its own right
Shown right, Cézanne's Nature Morte: pommes et poirs, meaning, ‘A still life with apples and pears ’ was produced from 1888
to 1890. Coming from the peak period of Cézanne's work, it was accompanied by many of his finest pieces, including Harlequin and Mont Sainte-Victoire, all three of which were produced shortly following his marriage to his longtime love.
The period that this was produced in, is distinguished by a focused attention on smaller settings of objects on a table with less distraction from more complex objects like tablecloths or elaborately detailed roemers, as compared to Heda’s work. The new ideas of structure that he bought, by breaking down the structures into geometric shapes, and developing the ideas of simpler shapes is a fine example of this ‘Apples and Pears’ is a perfect example of one of Cézanne's more stylistic works. The way that this piece can pop out of the canvas is caused by Cézanne’s non linier approach to art and his use of story like compositions. Contrasting his earlier pieces which are characterized by more severe contrast, often dark backgrounds starker whites on the ceramics and less modulated colour
This piece contains far more of the hatching stroke that he introduced later in his career that I believe really improved the quality and aesthetics of his work which contribute to the overall mood of the paintings inviting the viewer to connect on a more emotional level Cézanne once said, “Painting from nature is not copying the object, it is realizing one's sensations ” This is backed up by the way that much of his art tells a story, also in the way that thanks to his impressive compositional skills the fruits contained within his pieces almost seem to pop out from the canvas
Some people believe that Cézanne's work is, like that of Heda’s, still religious, with the constant incorporation of apples and the symbolic link they contain (apples being the forbidden fruit) showing that such an old story like that of the garden of Eden is still affecting life today. However, whether this is true is still up for debate, especially considering that it was produced in the height of the Victorian era when many art enthusiasts were determined to find meaning even when there was not any
It is more commonly believed though that Cézanne took great interest in the theory of light and the links between light, the eyes and the brain and the ways that these interact.
Cézanne is credited with being one of the fathers of the post-impressionist movement, roughly stretching from 1886 to 1905, and resulted as a rebellion to the over focused attention to light and colour. Artists like Cézanne explored subjective vision and abstract qualities, making waves in the art world that can still be seen today in the works of Picasso who's early works were heavily inspired by Cézanne, so much so that his earlier pieces were still categorised as postimpressionist
Pablo Picaso's Chair Caning
The final artist I will be looking at, Picasso, is arguably one of the most famous artists to date, the likes of which we have never seen before and are unlikely to see again He not only created his own art styles but also kicked off the world of abstract art as we know it today
At first glance, Pablo Picasso’s Still Life with Chair Caning (Nature-morte à la chaise cannée) as shown right, is an oval painting with the printed image of a caned chair, fragments of letters, objects that would be at home on a café table Yet, beneath this collage like artwork there is a far deeper meaning
The work depicts a café table, cluttered with everyday items A knife, a glass, a slice of lemon and a shell, all in Picasso’s fragmented Cubist style. This small oval canvas represents a critical turning point in Picasso’s style, marking the transition from Analytic Cubism toward Synthetic Cubism
Unlike Analytic Cubism, where forms were layers of muted browns and greys, here Picasso introduces greater clarity and admirable variety of texture The main part of the composition is the oilcloth, printed with a faux caning pattern, which makes up much of the background At the top right, “JOU” can be read. This could have multiple meanings: they could point to the French word “journal” (newspaper), frequently present in Cubist works, or hint at the French word “jouer” (to play) It is believed that Picasso left this open to interpretation on purpose, as an attempt to let each viewer see the piece in their own way, ensuring that without a direct meaning, it will stay relevant in an ever-changing world
The chair caning is not painted by hand, but rather printed onto oilcloth, a cheap, mass-produced alternative. Just as Marcel Duchamp would later use his readymades to question what constitutes art, Picasso challenged the more traditional ideas of high-end materials producing high-end pieces. At first, this was met with scepticism, many critics could not understand why Picasso would use cheap oilcloth in a painting rather than laboriously paint the caning himself. Yet, by incorporating massproduced material, Picasso expanded the idea of what was constituted as art.
This piece is also set apart by the rope, nailed around the piece as if like a frame, many arts historians wonder, is it a decorative frame, or is it part of the artwork? By incorporating a three-dimensional material, Picasso forces the viewer to see art as both an object and an image, almost making this piece sculpture like.
The choice of a café still life was not accidental Parisian café culture was central to Picasso’s daily life in Montmartre where artists, poets, and the great thinkers of the time gathered
A café table was home to many things including the building of ideas as well as the more ordinary social interactions Picasso has successfully captured the vibrancy of his modern urban life through his high intention to the ordinary.
Art historians all agree that this piece is the start of Synthetic Cubism. Synthetic Cubism introduced real world textures, brighter colours, and simpler shapes. In Still Life with Chair Caning, Picasso was no longer analysing the scene in front of him, but creating his own reality. Picasso challenged conventions and redefined modern art. Over a century later, this small, unconventional painting continues to provoke, fascinate, and inspire
Contemporary Still Lives
"A Little Death was about looking at things that historically have not changed. The importance of things that I have looked at through the years has not changed. A still life is still a still life, even in the transformation from painting to film. I am interested in ideas connected to mortality and the passage of time, as were the Dutch master painters"- Sam Taylor Woods [12]
Sam Taylor wood, now known as Sam Taylor Johnson, is most commonly renowned for her performance works where she leaves food, set up like a traditional still life (like that of Heda’s and Cézanne’s) and allows them to rot, recording this metamorphic process in a sped up video. It is certainly gruesome to say the least, especially in ‘A Little Death’ as shown on this page, but
without a doubt conveys strong connections of a traditional Memento Mori artwork from the 16 century Something I have taken particular notice of while studying her work is that all of her pieces are of a lower resolution as if purposefully making them appear like an old oil painting, greater adding to the similarities it has with older still lives. th
"Art is not a handicraft, it is the transmission of feeling the artist has experienced."
- Leo Tolstoy.
Marcel Duchamp and Sam Taylor-Wood are both artists who challenge conventional ideas of art. Unlike Duchamp’s detached irony, TaylorWood’s work is more personal and emotional, using technology and performance to capture moments of life and death. Both artists provoke viewers to question perception, authorship, and the relationship between life and art
Marcel Dutchamp is one of the most well known and controversial artists that constantly pushes the ideas of what can be constituted as art with his ideas of ‘readymade’ pieces that can be ordinary manufactured objects by nature, but reinvented by the artist as a work of art and in Duchamp’s case, interpreted in some way [13].
Without a doubt, the finest of this is Duchamp’s fountain 1917 that, quite simply is a urinal, signed and laid on its back. When it was first released to an exhibition of the Society of Independent Artists in New York in 1917 the expected controversy was massive and interpreted the concept of readymades as an attack on the traditional ideas of art that was set down by the masters over a century ago
The regular changes in still life, though often overlooked even today, have caused waves in the art world from stylistic expressions through to revolutionary compositions, but all of these aspects have carried through to today There are many pieces that inspire new artists producing contemporary art that pulls forward the historical ideas creating innovate pieces steeped in tradition. The deep symbolism of Hadas work is echoed in modern arts commentaries on society and environmental issues. The beautiful simplicity of Cézanne’s work can be seen on any gallery wall and Picassos abstraction has lead to the creation of multiple new genres and kick starting the pop movement.
While there will always be those who favour the older works such as thoset of the Dutch Golden Age, Still Life continuously adapts to keep up with the times and opinions and hence staying relevant and popular.
I am hoping that many of the styles and techniques I have seen while working on this essay can be worked into my own project (minus the rotting rabbits) and that my now greater understanding of the evolution of Still Life will help develop my pieces to have more roots in historic tradition with a pop of contemporary style.
Observing the details: Still Life and the Art of Looking at the World
[1] https://www.tate.org.uk/art/student-resource/exam-help/still-life 12.5 2025
[2] https://library fiveable.me/art-in-the-dutch-golden-age/unit-7/types-life-paintingsmeanings/study-guide/4WChp82jJGxahLOT 12.5.2025
[3]https://eur02.safelinks.protection.outlook.com/? url=https%3A%2F%2Fwww unsw edu.au%2Fnewsroom%2Fnews%2F2017%2F11%2Frembran dt capitalism-and-great-art--the-dutch-golden-age-comes&data=05%7C02%7Ctl.2405991%40hereford.ac.uk%7C65eb0c98a5484162ba5308dd991fd f22%7Cd9e8cc823d174da98b558fdff5370aba%7C0%7C0%7C638835084636990259%7CUn known%7CTWFpbGZsb3d8eyJFbXB0eU1hcGkiOnRydWUsIlYiOiIwLjAuMDAwMCIsIlAiOiJXa W4zMiIsIkFOIjoiTWFpbCIsIldUIjoyfQ%3D%3D%7C0%7C%7C%7C&sdata=W6hYH4ExrikK%2B YJ2n1MKDbpiRWXROhmYJGSDv9jgyg4%3D&reserved=0 26.7.2025
[4] https://www.nytimes.com/interactive/2022/05/08/arts/design/dutch-still-life.html 18 6 2025
[5] https://www frick org/exhibitions/boulloire 12.5.2025
[6] https://www.masterworksfineart com/artists/pablo-picasso/aquatint/nature-morte-stilllife-1960/id/W-5396
[7] https://www youtube com/watch?v=9PTDWDBtg-4 28.7.2025
[8] https://www.pablo-ruiz-picasso.net/periods.php 21.5.2025
[9] Art and Religion | Research | Paintings | The National Gallery, London 17.5.2025
[10] https://www.studiobinder.com/blog/when-was-photographyinvented/#:~:text=Some%20historians%20argue%20that%20hominids,for%20collecting%2 0rays%20of%20light. 16.7.2025
[11] https://www.britanicaa.com/event/Enlioghtenment-European-history 16 8 2025
[12] http://lunalimbulearningjournal.blogspot.com/2014/02/waste-sam-taylor-wood.html 14.10 2025
[13] https://www tate org.uk/art/artists/marcel-duchamp-1036 14.10.2025
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