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Overlooked masterpiece by still-life pioneer Clara Peeters discovered in storage

From The Guardian · () English

Translated from English, summarized and contextualized by DistantNews.

At a glance

In-depth Named sources Outcome reported
  • An unattributed still life painting, discovered in storage at Norway's National Museum, has been reattributed to Clara Peeters, a pioneering 17th-century female artist.
  • The painting, "Still Life with Small Game and Grapes on a Gilded Tazza," was previously attributed to Ambrosius Brueghel and later classified as "anonymous."
  • Art historian Cynthia Osiecki identified similarities in the panel, tazza, and composition, and noted the likely loss of Peeters' signature due to woodworm damage.

A significant rediscovery has been made at the National Museum of Norway in Oslo, where an unattributed still life painting has been officially reattributed to Clara Peeters, a renowned 17th-century Flemish artist. The painting, titled "Still Life with Small Game and Grapes on a Gilded Tazza," dates to around 1620 and depicts nine birds, hazelnuts, apricots, and a fly on grapes.

I looked at the panel the Oslo work is painted on, and discovered it was from a supplier Peeters often used.

— Cynthia OsieckiArt historian Cynthia Osiecki explaining one of the key pieces of evidence for the reattribution.

Previously, the artwork was attributed to Ambrosius Brueghel, a member of a famous Antwerp artist family. However, in the early 20th century, its attribution was revised, and it was subsequently classified as "anonymous," leading to it being largely stored away. This reclassification overlooked the potential contribution of Peeters, one of the earliest practitioners of still life painting, whose works are held in major international museums.

Art historian Cynthia Osiecki spearheaded the reattribution process. She noted similarities between the Oslo painting and known works by Peeters, including the type of panel used, which came from a supplier Peeters frequently utilized. Osiecki also observed parallels in the depiction of the tazza, a pedestal dish, and the arrangement of elements like the dead birds and grapes within the composition.

Then I looked at other paintings by Peeters, and I noticed some of them had a tazza [a saucer-like dish on a pedestal] very similar to the one in the Oslo painting.

— Cynthia OsieckiArt historian Cynthia Osiecki detailing further visual comparisons supporting the reattribution.

While Peeters often signed her works, the Oslo painting lacked a signature. Osiecki discovered that the area where Peeters typically signed had been damaged by woodworm. Further investigation revealed potential miniature self-portraits, a characteristic element of Peeters' work, obscured within the painted grapes, possibly lost during conservation. The painting will be a highlight of the upcoming "Woman Painter" exhibition at the National Museum of Norway, curated by Osiecki, which focuses on female artists from Northern Europe and Italy.

I could see a shape on some of the grapes, and on closer examination I realised they look like outlines of human figures.

— Cynthia OsieckiArt historian Cynthia Osiecki describing the potential discovery of miniature self-portraits within the painting.
DistantNews Editorial

Originally published by The Guardian in English. Translated, summarized, and contextualized by our editorial team with added local perspective. Read our editorial standards.

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