Still life painters

Source: Wikipedia. Pages: 71. Chapters: Paul Cézanne, Georges Braque, Henri Fantin-Latour, Jean-Baptiste-Siméon Chardin, John F. Peto, Still life, Emil Carlsen, William Buelow Gould, Elena Skuin, Nicolas de Staël, Joseph Allworthy, Juan van der Hamen, Wayne Thiebaud, Gevork Kotiantz, Francisco Zurbarán, Eliot Hodgkin, Robert Raack, James Gillick, Jan Davidsz. de Heem, William Harnett, Juan Sánchez Cotán, Mahmoud Farshchian, Victor Teterin, Sergei Yefimovich Zakharov, Raphaelle Peale, George Lance, Maya Kopitseva, Dorian Allworthy, Hubert Vos, Adriaen Coorte, Antoine Berjon, Richard Pionk, Willem Kalf, William Scott, Balthasar van der Ast, Jan den Uyl, Andrew Hemingway, Pieter Claesz, Jacob Marrel, Christopher Beaumont, Seker Ahmet Pasa, Abraham Mignon, Cornelis de Heem, Marshall Merritt, Hans Gillisz. Bollongier, John F. Francis, Abraham van Beijeren, Jan van Kessel, senior, Andrée Lavieille, Marie Adrien Lavieille, Jacob Gillig, Alexander Coosemans, Georg Flegel, Sallie Steketee, Raymond Han, Jan Janszoon de Heem, Hendrick Fromantiou, Evert van Aelst, Bartholomeus Assteyn, Milne Ramsey, Jean-Baptiste Claudot, Albertus Jonas Brandt, Charles-Antoine Clevenbergh. Excerpt: A still life (plural still lifes) is a work of art depicting mostly inanimate subject matter, typically commonplace objects which may be either natural (food, flowers, plants, rocks, or shells) or man-made (drinking glasses, books, vases, jewelry, coins, pipes, and so on). With origins in the Middle Ages and Ancient Greek/Roman art, still life paintings give the artist more leeway in the arrangement of design elements within a composition than do paintings of other types of subjects such as landscape or portraiture. Still life paintings, particularly before 1700, often contained religious and allegorical symbolism relating to the objects depicted. Some modern still life breaks the two-dimensional barrier and employs three-dimensional mixed media, and uses found objects, photography, computer graphics, as well as video and sound. Glass bowl of fruit and vases. Roman wall painting in Pompeii (around 70 AD), Naples National Archaeological Museum, Naples, ItalyStill life paintings often adorn the interior of ancient Egyptian tombs. It was believed that food objects and other items depicted there would, in the afterlife, become real and available for use by the deceased. Ancient Greek vase paintings also demonstrate great skill in depicting everyday objects and animals. Similar still life, more simply decorative in intent, but with realistic perspective, have also been found in the Roman wall paintings and floor mosaics unearthed at Pompeii, Herculaneum and the Villa Boscoreale, including the later familiar motif of a glass bowl of fruit. Decorative mosaics termed "emblema", found in the homes of rich Romans, demonstrated the range of food enjoyed by the upper classes, and also functioned as signs of hospitality and as celebrations of the seasons and of life. By the 16th century, food and flowers would again appear as symbols of the seasons and of the five senses. Also starting in Roman times is the tradition of the use of the skull in paintings as a symbol of mortality