Vegetais: Natureza Morta (Vegetables: Still Life) - James Peale
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OST - 40x55 - 1828
One of the
pioneer American still-life painters, James Peale first exhibited still-life
subjects at the Columbianum in 1795. According to Linda Crocker Simmons,
"The works exhibited document the birth of the still-life tradition in
America; [James and his nephew Raphaelle] were to be the principal
practitioners of this art form for many decades to come." (L.B. Miller,
ed., The Peale Family: Creation of a Legacy 1770-1870, Washington, D.C.,
1996, p. 217) Interestingly, James did not exhibit a still life again until
1826, never fully blossoming in this segment of his career until his 70s, after
Raphaelle's death. Simmons explains, "The coincidence of these dates
strongly implies that James did not pursue his own interest in the medium in
order not to compete with his nephew." (The Peale Family: Creation of a
Legacy 1770-1870, p. 218) Indeed, as demonstrated in Vegetables: Still
Life, James Peale's "lush evocations of the earth's abundance won a
popularity denied to Raphaelle Peale's stark, intense compositions." (Four
Generations of Commissions: The Peale Collection of the Maryland Historical
Society, Baltimore, Maryland, 1975, p. 33)
Unlike other Peale family members who were fascinated by the natural sciences, James Peale's still lifes seem to focus more on direct observation of fruits and vegetables, and particularly the changes in their appearance over time. Referring to a nearly identical work, Simmons writes, "James returned to still-life painting in the years before his death, the autumn of his life. The fruits and vegetables he painted then seem to refer to his own time frame; they often evidence full ripeness, if not the start of decay. It was at the end of his career that he produced a number of still-life settings composed almost entirely of vegetables, such as Vegetables: Still Life. In these paintings, James exploited unusual varieties of produce, sometimes bizarre forms as well as varied textures and colors. His emphasis on blemishes and distorted shapes bespeaks the transience of life." (The Peale Family: Creation of a Legacy 1770-1870, pp. 218-19)
Indeed, in Vegetables: Still Life, James Peale depicts a group of diverse produce, including eggplant, several varieties of squash and peppers, and encompassing the entire color spectrum from bright red to deep purple. Through a nuanced use of reflection, shading and patterning, he also suggests multiple textures. Moreover, the autumn squash, vegetable vines with leaves on the verge of wilting and green tinge on the sides of the red peppers subtly create a memento mori that epitomizes the best still lifes from James Peale's late career.
Unlike other Peale family members who were fascinated by the natural sciences, James Peale's still lifes seem to focus more on direct observation of fruits and vegetables, and particularly the changes in their appearance over time. Referring to a nearly identical work, Simmons writes, "James returned to still-life painting in the years before his death, the autumn of his life. The fruits and vegetables he painted then seem to refer to his own time frame; they often evidence full ripeness, if not the start of decay. It was at the end of his career that he produced a number of still-life settings composed almost entirely of vegetables, such as Vegetables: Still Life. In these paintings, James exploited unusual varieties of produce, sometimes bizarre forms as well as varied textures and colors. His emphasis on blemishes and distorted shapes bespeaks the transience of life." (The Peale Family: Creation of a Legacy 1770-1870, pp. 218-19)
Indeed, in Vegetables: Still Life, James Peale depicts a group of diverse produce, including eggplant, several varieties of squash and peppers, and encompassing the entire color spectrum from bright red to deep purple. Through a nuanced use of reflection, shading and patterning, he also suggests multiple textures. Moreover, the autumn squash, vegetable vines with leaves on the verge of wilting and green tinge on the sides of the red peppers subtly create a memento mori that epitomizes the best still lifes from James Peale's late career.
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