Nature Morte: silent beauty and eternal symbolism
- Artmediary
- May 21
- 4 min read
Still life, often relegated to second place in the hierarchy of artistic genres established by the Royal Academy of Painting and Sculpture in the 17th century, is nevertheless one of the richest genres in terms of meaning, symbolism and pictorial innovation. Far from being a simple exercise in the representation of inanimate objects, still life is a mirror of its time, a laboratory of form, light and philosophical reflection.
Through its various historical evolutions, this pictorial genre bears witness to a profound relationship between man and everyday objects. This article offers a comprehensive exploration of still-life painting, from its origins to its contemporary interpretations, drawing on major analyses and references from French art-historical research.
Still life, as an independent genre, first appeared during the Renaissance, but really took off in the 17th century, particularly in the Netherlands, Spain, Italy and France. The term “still life” itself is of French origin, first used around 1650 to designate works depicting inanimate objects - fruit, flowers, dead animals, musical instruments, books, crockery - isolated or staged in a composition.
According to art historian Alain Tapié, in La Nature morte en France: 1600-1800 (Somogy, 1999), this genre “carries with it a silent questioning of the presence of the world, of the materiality and fragility of life.”
Seventeenth-century French academic doctrine classified artistic genres according to a strict hierarchy. History painting - depicting religious, mythological or allegorical subjects - was at the top, while still life was placed at the bottom, considered a mere exercise in technical virtuosity.
However, artists such as Jean Siméon Chardin (1699-1779) were able to elevate this genre to a level of depth and nobility that defied convention. In his depictions of kitchens, fruit baskets and simple objects, Chardin conveys a touching humanity and a poetic meditation on reality. His work was rediscovered and rehabilitated in the 19th century, notably by art critics such as Théophile Gautier and Charles Blanc.
Still life is never neutral. Behind frozen objects often lies a vision of the world, a moral or philosophical reading. The “vanitas” genre, very much in evidence in the 17th century, is an emblematic example: hourglasses, skulls, extinguished candles, wilted flowers... all symbols of human finitude and the emptiness of earthly pleasures. All symbols of human finitude and the emptiness of earthly pleasures.
French philosopher Gérard Wajcman, in his essay L'Objet du siècle (Verdier, 1998), reminds us that the represented object is also a metaphor: “It's not a question of painting things, but of saying something through them.” Still life painting thus becomes a medium for visual meditation, an exercise in silent thought.
The great names of still-life painting in France and Europe
In France
Chardin, mentioned above, remains the undisputed master of the genre.
Louise Moillon (1610-1696), a Protestant artist known for her precise, luminous still lifes, produced works of great finesse.
Alexandre-François Desportes and Jean-Baptiste Oudry introduced the animal world into still life, combining hunting with aristocratic luxury.
In the Netherlands
Pieter Claesz and Willem Claesz Heda excelled in “déjeuners”, soberly elegant table scenes.
Floral still lifes by Rachel Ruysch and Jan Davidsz de Heem blend botanical virtuosity with Baroque spirituality.
Artists such as Giorgio Morandi, in the 20th century, or more recently Ori Gersht, reinterpret still life through a conceptual, photographic or abstract approach.
Today, still life paintings are sought after for their technical quality, decorative value and evocative power. Auction houses such as Drouot and Sotheby's regularly offer vintage still lifes that fetch high prices, particularly those attributed to Chardin, Desportes or Ruysch.
French museums, such as the Louvre, the Musée des Beaux-Arts de Lyon and the Musée Jacquemart-André, exhibit numerous works in this genre, contributing to their academic and heritage value.
Far from being a mere stylistic exercise, the still life is a profound, poetic and philosophically rich genre that allows us to question our relationship to the world, to objects and to time. Thanks to the work of numerous French researchers, art historians and museum institutions, this long-marginalized genre is now recognized for its true worth.
Rediscovering still life means learning to look at the simplest things with renewed attention. This is perhaps the greatest lesson of this silent art: how to see beauty in the ordinary.
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