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166:, van Oosterwijck was the only woman whose work was included. Early writers tended to depict female artists by correlating virtues which were traditionally held by women with similar values gleaned from interpretation of their paintings. Van Oosterwijck, who devoted her life to her painting rather than being a wife and mother, proved a challenging subject for these writers, and their accounts may not portray her as a fully formed personality. The more personal aspects of her paintings were also largely unexplored. This is in contrast to
323:) appears in various locations within most of her substantial paintings. For example, sometimes the butterfly is resting on a flower stem, or on the edge of a table with a flower vase, or on a book. The butterfly was used as a device to draw the viewer's attention into the painting and into van Oosterwijck's artistic vision. The butterflies are also symbolic of Christ's resurrection.
289:, books, globes, partially eaten food, bags of money, insects, wilted leaves, and flowers. She also included symbols of resurrection, giving her work a subtle bitter-sweet quality which is in contrast to some other artists of the time who sometimes, for example, would depict a large pile of skulls in order to deliver the moral message in their vanitas paintings.
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189:, features her posing with poet Dirk Schelte. In 1673, Schelte had written a poem in tribute to the beauty of van Oosterwijck's paintings, as well as that of her character. The portrait appears to reference the poem, picturing van Oosterwijck, with palette and brushes, as a painter-muse, serving as an inspiration to Schelte the poet.
262:
tradition. There are very few existing pieces that have been identified as being by van
Oosterwijck, most of which are florals, but Houbraken determined that she had created many other still lifes. Many of her paintings were small-format. This was often the case for artists of the time, as large
257:
techniques in her use of light and shadow. She frequently painted dark backgrounds, which resulted in increased brilliance of the foregrounds. She helped to transform the genre of the floral still life, painting realistically in a manner similar to the 16th-century Dutch
117:. Van Aelst courted her, but she refused his hand, and he reportedly stopped pursuing her because her devotion to painting was more important to her. Van Oosterwijck remained single throughout her life, but she raised her nephew, who had been orphaned.
240:, biographer of Dutch Golden Age artists, eulogized van Oosterwijck, but did not consider her to be a professional artist, despite the very large sums paid for her paintings by such high-profile collectors as various members of European royalty.
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Van
Oosterwijck created floral paintings and still lifes with allegorical themes during a period in which such works were much sought after in Central Europe. She and Ruysch were judged to be the most eminent still life painters of the
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Van
Oosterwijck initially worked in Delft and later moved to Utrecht. She worked with de Heem, and years later she produced her first professional piece which had been created independently. When de Heem moved to
87:'s studio. With de Heem's influence, van Oosterwijck developed her interest in floral painting. She became his student, and she showed herself to have a talent for vividly painting realistic creations.
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In addition to being a talented painter, she was also a successful businesswoman; she obtained the services of an agent in
Amsterdam to market her pieces to Germans. Among her patrons were
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196:, also known as Geertje Pieters, to mix her paints, and trained her as a painter too. After van Oosterwijck died, Wyntges lived independently, supporting herself as a painter.
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234:, about 12 kilometres (7.5 mi) northeast of Amsterdam, in 1693. The date of her death is often reported as 12 November, but some sources claim it was in December.
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In 1689, van
Oosterwijck created her last known painting, a still life which is in the Collection of Her Majesty the Queen at London's
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As an homage to van
Oosterwijck's skill as a floral painter – considered an acceptable vocation for a woman of the time –
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wine. Even colors are used symbolically, with white denoting innocence, yellow indicating divinity, and red symbolizing martyrdom.
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Van
Oosterwijck was very religious, and she often symbolically represented her deeply held beliefs in her paintings. The
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79:. Her date of birth is generally listed as 20 August, but some sources state that it was 27 August. Her father was a
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paintings incorporate objects intended to symbolize the ephemeral nature of life; such objects may include skulls,
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minister, as was her grandfather. Her father took her, when she was quite young, to masterful still life painter
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170:(1664–1750), who was married and had ten children, and was written about in very personable and glowing terms.
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Van
Oosterwijck painted a recurring poetic embellishment into her still lifes. The red admiral butterfly (
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is symbolic of turning to God. Grapes take on a symbolic religious meaning because of their use to make
747:
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Schama, Simon (April 1980). "Wives and
Wantons: Versions of Womanhood in 17th Century Dutch Art".
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pieces tended to restrict sales opportunities to wealthier clients such as churches or the state.
253:. Van Oosterwijck's work, using luminous colors, is very richly detailed, sometimes demonstrating
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185:, shows her holding a Bible in her other hand. Another portrait of her, attributed to
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Through the use of symbolic elements, her paintings reflect themes commonly found in
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Very few women were professional artists during the 1600s. In a 2004 book on
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226:'s reign, as was another van Oosterwijck work. She died at her home in
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De groote schouburgh der
Nederlantsche konstschilders en schilderessen
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106:, van Oosterwijck had ample opportunity for independent painting.
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206:, 1689, Royal Collection. Van Oosterwijck's last known painting.
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51:, specializing in richly detailed flower paintings and other
721:(1223). The Burlington Magazine Publications Ltd.: 123–124.
1207:(in Dutch). October 2005. pp. 7–8. Archived from
709:
Enchanting the Eye. Dutch Paintings of the Golden Age
673:"Maria van Oosterwyck: Bouquet of Flowers in a Vase"
109:Sometime in the early- to mid-1670s, she moved to
1227:
1175:. New York: Watson-Guptill. pp. 109–114.
873:"Still Life with Flowers, Insects and a Shell"
1143:Berardi, Marianne (2001). Delia Gaze (ed.).
475:, c. 1670, Palatine Gallery in Palazzo Pitti
216:Still Life with Flowers, Insects and a Shell
204:Still Life with Flowers, Insects and a Shell
152:Still Life with Flowers in a Decorative Vase
1070:, The Royal Picture Gallery. Archived from
569:"Maria van Oosterwyck (Dutch, 1630-1693):
144:, because women were not allowed to join.
63:Maria van Oosterwijck was born in 1630 in
1205:Newsletter of Nootdorp Historical Society
938:"Still Life with Flowers and Butterflies"
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533:Still Life with Flowers and Butterflies
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1149:. Fitzroy Dearborn. pp. 524–528.
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458:Vanitas with Sunflower and Jewelry Box
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849:Netherlands Institute for Art History
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181:. This 1671 portrait, in Amsterdam's
936:
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756:Digital Library for Dutch Literature
279:Dutch still life of the 17th-century
177:painted a portrait of her holding a
1146:Concise Dictionary of Women Artists
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1022:
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707:Bailey, Colin J. (February 2005). "
13:
1198:"Schilderij Maria van Oosterwijck"
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789:
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383:Palatine Gallery in Palazzo Pitti
31:Portrait of Maria van Oosterwijck
1276:17th-century Dutch women artists
525:
520:, 1685, Statens Museum for Kunst
510:
495:
480:
465:
450:
435:
420:
273:, 1668, Kunsthistorisches Museum
58:
136:; she sold three pieces to the
1256:People from Pijnacker-Nootdorp
326:
1:
540:
518:Bouquet of Flowers in a Glass
460:, c. 1665, private collection
97:, 1669, Cincinnati Art Museum
490:, c. 1670, Denver Art Museum
488:Bouquet of Flowers in a Vase
126:Holy Roman Emperor Leopold I
7:
154:, c. 1670–1675, Mauritshuis
10:
1292:
1173:Great Women Masters of Art
1136:
473:Flowers, Fruit and Insects
413:
160:Dutch Golden Age paintings
18:
1241:Dutch still life painters
1236:Dutch Golden Age painters
1096:. Polo Museale Fiorentino
1120:Statens Museum for Kunst
1038:Kunsthistorisches Museum
535:, 1686, Royal Collection
403:Statens Museum for Kunst
363:Kunsthistorisches Museum
49:Dutch Golden Age painter
19:Not to be confused with
16:Dutch artist (1630–1693)
1261:Painters from Amsterdam
1116:"Maria van Oosterwijck"
1094:"Oosterwyck, Maria Van"
1004:University of Cambridge
946:. Inventory no. 405626.
881:. Inventory no. 405625.
806:Oxford University Press
714:The Burlington Magazine
711:by Christopher Lloyd".
641:"Maria van Oosterwijck"
503:A Floral Still Life ...
192:She taught her servant
1064:"Maria van Oosterwyck"
943:Royal Collection Trust
878:Royal Collection Trust
342:Sacramento, California
303:
274:
243:
218:, was acquired by the
207:
155:
134:William III of England
130:Augustus II the Strong
98:
67:, a town located near
37:
1171:Vigué, Jordi (2002).
966:Cincinnati Art Museum
748:"Maria van Oosterwyk"
333:Cincinnati Art Museum
295:
269:
202:
150:
93:
81:Dutch Reformed Church
41:Maria van Oosterwijck
29:
1251:Dutch flower artists
1246:Dutch women painters
814:10.1093/oxartj/3.1.5
445:, Crocker Art Museum
430:, Fitzwilliam Museum
85:Jan Davidsz. de Heem
47:, (1630–1693) was a
21:Maria van Oisterwijk
571:Roses and Butterfly
443:Roses and Butterfly
122:Louis XIV of France
1044:on 7 November 2013
1000:Fitzwilliam Museum
845:"Geertgen Wyntges"
798:Oxford Art Journal
576:Crocker Art Museum
353:Fitzwilliam Museum
338:Crocker Art Museum
304:
275:
271:Vanitas-Still Life
208:
187:Gerard de Lairesse
175:Wallerant Vaillant
156:
99:
38:
35:Wallerant Vaillant
1032:Vanitas-Stilleben
994:A Vase of Flowers
960:Flower Still Life
744:Houbraken, Arnold
680:Denver Art Museum
582:on 24 August 2013
428:A Vase of Flowers
348:Denver Art Museum
301:Flower Still Life
214:. This painting,
212:Kensington Palace
164:Christopher Lloyd
162:by art historian
95:Flower Still Life
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1040:. Archived from
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968:. Archived from
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786:Berardi, p. 527.
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627:Berardi, p. 524.
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578:. Archived from
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393:Royal Collection
320:Vanessa atalanta
297:Vanessa atalanta
238:Arnold Houbraken
220:Royal Collection
194:Geertgen Wyntges
115:Willem van Aelst
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43:, also spelled
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59:Life and work
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1216:. Retrieved
1209:the original
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1072:the original
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580:the original
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1271:1693 deaths
1266:1630 births
1068:Mauritshuis
373:Mauritshuis
327:Collections
312:eucharistic
287:hourglasses
255:chiaroscuro
183:Rijksmuseum
77:Netherlands
53:still lifes
33:, 1671, by
1230:Categories
1218:2012-10-09
541:References
407:Copenhagen
224:Queen Anne
45:Oosterwyck
377:The Hague
357:Cambridge
308:sunflower
111:Amsterdam
1162:17 March
1125:17 March
1100:17 March
1078:17 March
1048:17 March
1014:17 March
976:17 March
854:25 March
808:: 5–13.
761:18 March
746:(1718).
727:20073859
685:23 March
650:25 March
586:17 March
387:Florence
65:Nootdorp
1137:Sources
822:1360173
573:, n.d."
414:Gallery
299:, from
283:vanitas
222:during
179:palette
104:Antwerp
1179:
1153:
820:
725:
505:, 1675
397:London
367:Vienna
228:Uitdam
132:, and
124:, the
75:, the
1212:(PDF)
1201:(PDF)
818:JSTOR
804:(1).
723:JSTOR
676:(PDF)
69:Delft
1177:ISBN
1164:2013
1151:ISBN
1127:2013
1102:2013
1080:2013
1050:2013
1016:2013
978:2013
856:2013
763:2013
687:2013
652:2013
588:2013
810:doi
719:147
244:Art
71:in
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385:(
379:)
375:(
369:)
365:(
359:)
355:(
344:)
340:(
23:.
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