Rijksmuseum: part 3 – Gijsels, Pieter -- Stilleven bij een fontein, 1680-1691
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Читала, что эта картина и другие натюрморты, приписываемые Питеру Гийселсу, принадлежат его сыну Питеру Гийселсу, младшему, рано ушедшему из жизни: (1650 – после 1675)
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The composition presents a lavish still life arranged around a tiered fountain. A profusion of fruit and foliage dominates the foreground, spilling onto a patterned Persian carpet that lies partially draped over a stone ledge. The arrangement is not haphazard; theres an intentional layering and interplay of textures and colors. Grapes, peaches, plums, lemons, and other unidentified fruits are clustered together, their surfaces rendered with meticulous attention to detail – the subtle sheen on a peach’s skin, the velvety texture of a plum. A single pumpkin sits prominently near the center, its orange hue contrasting with the cooler tones of the surrounding fruit.
Behind this abundance, the fountain itself serves as a central architectural element. It is adorned with a sculpted putto figure, seemingly emerging from the waters surface and holding aloft a garland of flowers. The fountain’s basin reflects the light, creating a sense of depth and coolness that contrasts with the warmth emanating from the fruit pile. A peacock stands near the fountain, its iridescent feathers catching the light; it is positioned in a way that draws the eye upward toward the architectural details.
The background consists of a dense, dark garden, punctuated by glimpses of manicured hedges and distant trees. The limited visibility suggests an enclosed, cultivated space – a private paradise. A large terracotta pot overflowing with flowers sits to the right, further emphasizing the theme of abundance and controlled nature.
Several symbolic elements are present. The fruit, as is typical in still life painting, represents prosperity, fertility, and the fleeting nature of earthly pleasures – a memento mori reminder of time’s passage and decay. The peacock, a symbol of vanity and pride, introduces an element of moral complexity. Its presence might suggest a cautionary tale about excessive indulgence or misplaced values. The Persian carpet hints at wealth and exoticism, while the fountain itself signifies refinement and classical ideals.
The overall effect is one of opulent display combined with subtle melancholy. While the scene celebrates abundance, it also acknowledges its impermanence, inviting contemplation on themes of mortality and the transience of beauty.