2. Feasts and Banquets
Clara Peeters was a master at depicting the material and food culture of her time, particularly that of the elites. In Table with a Cloth, Salt Cellar, Gilt Tazza, Pie, Jug, Porcelain Dish with Olives, and Roast Fowl, she presents a lavish banquet, brimming with abundance, luxury foods, and precious materials. The artist meticulously paints the linen damask tablecloths—a valuable item exported from Flanders to the rest of Europe—capturing even the creases from where the cloth had been folded. Every element and food item signals to the viewer that we are in a wealthy household, likely belonging to the social elite.
The Chinese porcelain plate is filled with olives from Spain, a luxury for northern Europe at the time. The colorful oranges, probably imported from Italy, Spain, or Portugal, add an extra touch of luxury to the table. Even the salt cellar and the birds on the pewter plate, possibly pheasants, signal the household’s wealth—salt was expensive at the time, and game birds were a luxury. There is also a cake on the table, possibly filled with fruit, fish, or meat, which echoes the net pattern of the ceramic jug behind, adding dynamism to the composition.
The golden tray and the glass cup further demonstrate Clara Peeters’ mastery—we can even glimpse the reflection of the window in the glass. At the very front of the table, we find a knife with the painter’s name as well as the mark of the city of Antwerp. The city mark situates the painting within its social and geographical context.
3. Sweets, Strawberries, Rosemary, and Love
Even though we are used to the deeper, sometimes hidden, meanings of still life paintings, in the 17th century, we see a growing interest among artists in the materiality and naturalism of objects. There is a clear desire to study nature for its own sake rather than to confer upon it a transcendental meaning. At first glance, Clara Peeters seems to align with this new artistic trend, directly observing material reality, yet in her work, both approaches to still life coexist. In Still Life with Dainties, Rosemary, Wine, Jewels, and a Burning Candle, we can sense that a more subtle meaning lies beneath the surface.
The elements that appear to be randomly placed invite us to interpret this painting symbolically. Beyond the wine glasses and the candles—both common in vanitas paintings—we see on a silver tray several almond-paste sweets, a typical delicacy of the time. We cannot overlook the cross, heart, and P shapes of the biscuits. The P is almost certainly a reference to the painter herself, serving as a subtle signature. As we will see below, Peeters had a well-known taste for self-portraits and self-references.
On the table lies a sprig of rosemary, from which strawberry-shaped earrings hang, and in the foreground rests a ring. While strawberries were associated with fertility, sprigs of rosemary were often placed on wedding tables and used in wedding processions. Together with the ring and the heart-shaped biscuit, these botanical elements clearly suggest that the painting was created to commemorate a wedding.
4. Birds, Monkeys, and Distant Lands
This painting is a pure abundance. A wooden basket brims with fruit—grapes, pears, apples, plums, cherries, and apricots—a feast for both taste and sight. A fly perched on the apple adds further realism to the work. In the foreground lie several dead birds, including a kingfisher, bullfinches, and a parrot. Unlike many of Peeters’ other works, where ochre and brown tones predominate, this scene bursts with color, dominated by the complementary red and green fruit and the birds’ plumage.
On the right, a small monkey hungrily cracks a nut, adding a playful touch. Together with the parrot, this exotic creature reflects the period’s fascination with the rare and the foreign. Their presence in a Dutch setting also points to the Netherlands’ trade connections with regions of Central and South America.
5. Gold, Flowers, and Self-Portraits
This work differs from Peeters’ usual paintings. In Still Life with Flowers and Gold Cups of Honour, we do not find the overflowing cheeses, fruit baskets, or sumptuous spreads. Even the bouquet of flowers appears smaller than in other Peeters paintings.
On a stone surface, we find various objects, commonly found in vanitas paintings, arranged randomly. The textures and surfaces of the objects are almost “photographically” rendered. The intense colors of the flowers in the ceramic vase stand out against the black background, as do the luminous, golden cups. Both cups follow the style of 16th-century Nuremberg pieces and are topped by two soldiers resembling “crusaders.”
Next to the cups lie gold coins and a gold chain on a porcelain plate. Next to them are four shells of different origins, colors, and textures. By the 16th century, shells had become prized collectors’ items, often displayed in cabinets of curiosities.
But the most intriguing detail of this painting is hidden on one of the cups. If we look closely at the cup on the right, we can spot up to six self-portraits of Clara Peeters!
Although Clara Peeters included self-portraits in other works, this painting contains the most of them. Their inclusion is a bold statement, asserting her authorship in a social context that was challenging for women artists. Moreover, Peeters playfully engages the viewer, creating the illusion that she is painting while we admire her art. Isn’t that brilliant?
We hope you enjoyed exploring the delicious Baroque world of Clara Peeters as much as we did!
P.S. If you are a fan of still lifes, be sure to check out our Food & Drinks postcards, featuring, among others, Clara Peeters’ work.