Peter Casteels I says the ancient-17th century-Garland of flowers around a vase Medici
Canvas 48 cm by 41 cm
Old frame of 63 cm by 41 cm
Our beautifully painted canvas is from a 17th century Dutch school by Peter Casteels.
Peter Casteels the former is the father of Peter Casteels II and Franz Casteels II. Peter Casteels III and Peter Tillemans are also part of this great family of painters from the 17th and 18th centuries.
He was part of the guild of St. Luke in Antwerp in 1673 and 1674
Floral compositions of the Dutch Golden Age
Whether in exuberant bouquets, simple baskets or elaborate garlands, the delicate floral compositions so often represented in Nordic painting reveal a part of symbolism and allegory. They combine, at the invitation of a peaceful meditation on earthly life, a fervent and meticulous celebration of the beauty of nature.
The painters of flowers in the Netherlands and Holland during the seventeenth and eighteenth centuries were as many true specialists of the genre as artists for whom this expression represented only a part of their work. At that time, when the art of still life flourished, the flowers contributed to a real exaltation of this style thanks to talented compositions painted from precise studies from nature. The presentation of these flowers at times of often distant blossoms took different forms, incredibly dense bouquets, often arranged in precious vases, or arranged in simple baskets or baskets. A widespread pictorial genre also presented them in a garland around a central medallion, almost always standing out against dark backgrounds. This genre combined the symbolism of the vegetable crown with ideals of purity and abundance. Naturally the idea of ??vanity was often essential: the painting of flowers associates in fact absolute fidelity to botany, praise to the beauty of nature to a message properly symbolic, religious most often. A small world of insects will populate this evocation, today erased and yet subtly present, a reminder of the ephemeral nature of life on earth. Flowers were also attached to precise meanings, sometimes alternating between pagan and religious significance. However, there remain the obvious contradictions of vanities: were these refined works a celebration driven to the perfection of nature or a call, a moral lesson in order to resist earthly temptations?