Cornelis Norbertus Gijbrechts (1630 – 1675) – Trompe l Kobenhavn (SMK) National Gallery of Denmark

The composition presents a meticulously arranged still life, seemingly overflowing from a low table against a plain, light-colored wall. The artist has constructed a scene that challenges perception through its illusionistic qualities. A richly patterned Persian carpet dominates the foreground, draped and folded in a manner that creates depth and obscures the surface it rests upon. Upon this carpet are piled various objects, creating an impression of chaotic abundance.
A rolled tartan fabric is prominently displayed, leaning against what appears to be a partially visible mirror frame. This textile introduces a note of foreignness or exoticism, suggesting connections beyond the immediate setting. Scattered amongst the folds of the carpet and draped cloth are numerous documents – sheets of paper covered in script, seemingly legal or musical notations. These papers appear casually strewn, contributing to the overall sense of disarray while simultaneously hinting at intellectual pursuits or administrative duties.
A small wooden box, overflowing with feathers, sits on the table’s surface. This detail evokes associations with writing and correspondence, further reinforcing the theme of communication and documentation. A brass candlestick, a navigational instrument (possibly a compass), and an inkwell are positioned near the right edge, suggesting exploration, learning, or record-keeping.
The lighting is carefully controlled, highlighting certain objects while leaving others in shadow. This selective illumination enhances the three-dimensionality of the scene and draws attention to specific details. The artist’s skill lies in rendering these disparate elements with such realism that they appear almost tangible. The effect is one of deliberate deception – a visual trick designed to engage the viewers intellect and challenge their assumptions about what constitutes reality within a painted space.
The subtexts embedded within this arrangement are complex. The combination of scholarly materials, navigational tools, and exotic textiles suggests a patron with intellectual curiosity, worldly experience, or perhaps both. There is an underlying commentary on the nature of perception itself – how easily our eyes can be fooled by skillful artistry. The seemingly random placement of objects might also imply a narrative about time passing, knowledge accumulating, and the transient nature of human endeavors.