DOI Artikel:
Zasławska, Danuta Natalia: Martwe natury kwiatowe Andreasa Stecha
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.28100#0215
1707). Another Stech’s inspiring sources can be Jacob MarrelFs bouąuets from 1650s
and the works of Jan Dawidsz de Heem. Let us now move the relationship between the
Gdańsk painting and the works of Nicolaes van Veerendael and Hendrick de Froman-
tiou (visited to Gdańsk in 1684).
Stech’s Flowers in Delft Vase, moderate in form and arranged with precision, it
must have been a rafined colouristic composition. In this bouąuet the dominant
colours were dilferent shades of red and purple brightened and contrasted with white
set against a complementary ołive green background. On the other hand, the cool
colour notę could have been the blue - white faience vase from Delft, an imitation
of Chinese wares which, at the time, were to be found in large ąuantities in Gdańsk.
Not a single flower can be seen to dominate the transparent radial composition; each
one is exposed individually, like a portrait. If the ąuoted monogram JB on the back of
painting were to point to the first owner, Jacob Breyne, then the choice of botanical
rarities in this bouąuet, wrongly ąualińed as yanitas, would unąuestionably confirm
this assumption.
The rational and elear construction of Gdańsk bouąuets inviting to reflection on
the conhguration of forms and colours and, at the same time, on the perfect deed of
the Creator. Stech’s floral paintings, a first class botanical document and the testimony
to the close cooperation and driving ambition of the artist and scholar, remains on our
ground as an usurpassable example of the aspiration, potential and also intellectual
horizonts of Gdańsk society in the second half of the seventeenth century.
Martwe natury
kwiatowe
Andreasa
Stecha
and the works of Jan Dawidsz de Heem. Let us now move the relationship between the
Gdańsk painting and the works of Nicolaes van Veerendael and Hendrick de Froman-
tiou (visited to Gdańsk in 1684).
Stech’s Flowers in Delft Vase, moderate in form and arranged with precision, it
must have been a rafined colouristic composition. In this bouąuet the dominant
colours were dilferent shades of red and purple brightened and contrasted with white
set against a complementary ołive green background. On the other hand, the cool
colour notę could have been the blue - white faience vase from Delft, an imitation
of Chinese wares which, at the time, were to be found in large ąuantities in Gdańsk.
Not a single flower can be seen to dominate the transparent radial composition; each
one is exposed individually, like a portrait. If the ąuoted monogram JB on the back of
painting were to point to the first owner, Jacob Breyne, then the choice of botanical
rarities in this bouąuet, wrongly ąualińed as yanitas, would unąuestionably confirm
this assumption.
The rational and elear construction of Gdańsk bouąuets inviting to reflection on
the conhguration of forms and colours and, at the same time, on the perfect deed of
the Creator. Stech’s floral paintings, a first class botanical document and the testimony
to the close cooperation and driving ambition of the artist and scholar, remains on our
ground as an usurpassable example of the aspiration, potential and also intellectual
horizonts of Gdańsk society in the second half of the seventeenth century.
Martwe natury
kwiatowe
Andreasa
Stecha