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174:, Madrid) a collaboration with an unknown collaborator. The central motif is a sculpture rather than a painting of the Madonna as was more common. The garland of flowers is represented in groups, rather than in a circle, and is thus representative of the later evolution of this genre. The subject of the exaltation of the figure of Mary was a response to Protestant beliefs and is reinforced by the inscription 'ego flos campi' ('I am the flower of the field') at the foot of the bust.
245:. While most of these symbols reference earthly accomplishments (books, scientific instruments, etc.), pleasures (a pipe), sorrows (symbolised by a peeled lemon), the transience of life and death (skulls, soap bubbles, empty shells) and the role of chance in life (dice and playing cards), some symbols used in these paintings carry a dual meaning: a rose or an oar of grain refers as much to the brevity of life as it is a symbol of the resurrection of Christ and thus eternal life.
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Nicolaes van
Verendael contributed to the spread of the genre of the 'monkey scene', also called 'singerie' (a word, which in French means a 'comical grimace, behaviour or trick'). Comical scenes with monkeys appearing in human attire and a human environment are a pictorial genre that was initiated
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Van
Verendael mainly painted flower pieces, vanitas still lifes and a few allegorical scenes with monkeys. His dated works are from the period between 1659 and 1690. He was highly regarded from an early age. He was in demand as a collaborator working with some of the leading Antwerp painters such as
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motif. Vanitas still lifes were very popular in the 17th century in
Flanders and the Dutch Republic. The objects in these still lifes evoke the transient nature of earthly goods and pursuits, the role of chance in life and its apparent meaninglessness. Stock symbols expressing these ideas include
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skulls, extinguished candles, empty glasses, wilting flowers, dead animals, smoking utensils, watches, mirrors, books, dice, playing cards, hourglasses and musical instruments, musical scores, various expensive or exclusive objects such as jewellery and rare shells. The term
272:. Both paintings contain the token vanitas symbols such as the candle stick, pipe and pipe cleaner, wilted flowers, crumpled up books. The skull too may be one and the same. In the Venice painting vanitas symbols such as the drop of water and the soap bubble are included.
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but he used more and stronger and more contrasting colours. His early flower paintings depicted small, bright, graceful bouquets in tall, narrow vases or cartouches and garlands surrounding a religious figure or scene. These garland paintings had been an invention by
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Later he was influenced by Jan
Davidsz. de Heem. Van Veerendael developed towards a brisker brushstroke in his later years and he found a personal style that was a forerunner of Flemish flower painting in the 18th century. Some of his still lifes include insects.
89:. The couple has 11 children, one of whom was born after the death of the artist. Despite his high reputation among fellow artists, van Verendael was never out of financial trouble as he was a slow worker. As a result, he lived modestly.
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Later in the 17th century
Nicolaes van Verendael started to paint these ‘monkey scenes’ as well. As he had collaborated with David Teniers the Younger in Antwerp, he was familiar with Teniers' work in this genre. An example is the
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These vanitas paintings were informed by a
Christian understanding of the world as a temporary place of ephemeral pleasures and torments from which humanity's only hope of escape had been offered by the sacrifice and
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134:. Veerendael is known to have collaborated with other artists on works that expanded on the pure flower still lifes of his particular expertise.
51:. He was a frequent collaborator of other Antwerp artists to whose compositions he added the still life elements. He also painted a number of
299:. These prints were widely disseminated and the theme was then picked up by other Flemish artists in particular by those in Antwerp such as
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introduced the singerie as an independent theme around 1575 in a series of prints, which are strongly embedded in the artistic tradition of
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in
Antwerp on 19 February 1640. He trained with his father Willem van Veerendael. He was not formally registered as a pupil at the Antwerp
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in
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at the Ca' d'Oro, Venice dated 1679. The vanitas elements in the latter work have been attributed to the
Antwerp painter
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dating to the beginning of the 17th century and were usually collaborations between a still life and a figure painter.
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Review of Susan
Merriam, Seventeenth-Century Flemish Garland Paintings. Still Life, Vision and the Devotional Image
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which reprises the theme of 'The King drinks' with the human roles played by monkeys. Another example is the
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Vanitas still life with flowers, a skull, hourglass, conch shell and silver jug on a partially draped table
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became the principal practitioner of the genre and developed it further with his younger brother
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He married Catharina van Beveren, the 17-year-old daughter of the prominent Antwerp sculptor
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Vanitas still life with a bouquet of flowers, a candlestick, smoking materials and a skull
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Vanitas still life with a bunch of flowers, a candle, smoking implements and a skull
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Vanitas still life with a bunch of flowers, a candle, smoking implements and a skull
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His early work shows the influence of the leading Antwerp flower still life painter
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Grove Art Online. Oxford Art Online. Oxford University Press. Web. 2 December 2019
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He was the teacher of someone referred to as 'priest Cano' and the flower painter
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painter active in Antwerp who is mainly known for his flower paintings and
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Variant name spellings: Nicolaas van Veerendael, Nicolaas van Verendael
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From Bonbon to Cha-cha. Oxford Dictionary of Foreign Words and Phrases
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258:). The painting shows similarities with another vanitas work called
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81:, collaboration with David Teniers the Younger and Carstian Luyckx
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The Vanitas Still Lifes of Harmen Steenwyck: Metaphoric Realism
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but was admitted to the Guild as the son of a member in 1657.
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An example of a work by van Verendael in this genre is the
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An example of a vanitas still life by Veerendael is the
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Flemish paintings in the Metropolitan Museum of Art
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196:Veerendael painted a number of still lifes with a
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641:Hendrick Andriessen and Nicolaes van Verendael,
396:Monkey Madness in Seventeenth-Century Antwerp
679:La folie des singes à Anvers au XVIIe siècle
475:. New York: The Metropolitan Museum of Art.
398:, in: The Rubenianum Quarterly, 2012 2, p. 5
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414:Geschiedenis der Antwerpsche schilderschool
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225:"Vanity of vanities, all is vanity"
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208:Vanitas, Vanitas. Et omnia Vanitas
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487:(p.270-272, v.1; plate 105, v.2)
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465:Liedtke, Walter A. (1984).
223:this line is translated as
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16:Flemish painter (1640–1691)
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301:Frans Francken the Younger
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603:Koozin, Kristine (1990).
435:Veerendael, Nicolaes van.
340:Merry Company or Singerie
321:David Teniers the Younger
112:David Teniers the Younger
40:– 1691 in Antwerp) was a
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526:Nicolaes van Verendael,
497:Nicolaes van Verendael,
317:Jan van Kessel the Elder
297:Pieter Bruegel the Elder
609:. Renaissance studies.
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34:Nicolaes van Veerendael
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705:Nicolaes van Verendael
380:Nicolaes van Verendael
305:Jan Brueghel the Elder
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243:resurrection of Christ
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219:in the Bible. In the
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447:Mattheus van Beveren
132:Jan Davidsz. de Heem
120:Erasmus Quellinus II
87:Mattheus van Beveren
661:in Larousse online
270:Hendrick Andriessen
266:Galleria Franchetti
251:Vanitas with skulls
94:Jean Baptiste Morel
69:Guild of Saint Luke
65:St. Andrew's Church
613:. p. vi-vii.
611:Edwin Mellen Press
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235:Vanitas wit skulls
221:King James Version
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79:Kitchen still life
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703:Media related to
620:978-0-88946-949-5
589:978-0-19-954369-4
562:978-0-19-960912-3
313:Sebastiaen Vrancx
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684:(in French)
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626:12 November
309:the Younger
49:still lifes
715:Categories
659:'Singerie'
482:0870993569
454:(in Dutch)
418:(in Dutch)
351:References
276:Singeries
53:singeries
36:(1640 in
449:at the
382:at the
264:in the
213:Vulgate
211:in the
203:vanitas
198:vanitas
182:Vanitas
105:General
46:vanitas
42:Flemish
38:Antwerp
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549:Oxford
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172:Prado
628:2019
615:ISBN
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59:Life
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