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began to develop during Rubens’s youth. It was not until the age of seventy-one that Peale was taught to paint — by his daughter, Mary. Still Life with
Watermelon, completed during Rubens’s eighty-first year, offers eloquent testimony that he ended his brief career at the peak of his powers. A finely balanced, completely assured example of the artist’s numerically modest oeuvre, the painting partakes of the quiet simplicity of his brother Raphaelle’s frieze-like, Neoclassical compositions, executed decades earlier, and relates as well to his uncle James Peale’s horizontal tabletop arrangements of indirectly illuminated fruit, including the pictorial device of a piece of fruit shown overhanging the table’s edge, relieving its insistent planarity.
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