Departmental Bulletin Paper 17世紀ネーデルラント静物画における画家の反射像 : ウィレム・ファン・アールスト作《果物とワイングラスのある静物》を中心に
17セイキ ネーデルラント セイブツガ ニオケル ガカ ノ ハンシャ ゾウ ウィレム ファン アールスト サク クダモノ ト ワイングラス ノ アル セイブツ オ チュウシン ニ
Refl ected Self-Portraits in Seventeenth-Century Netherlandish Still Lifes : Willem van Aelst’s Still Life with Fruits and a Wineglass

秋山, 文

(24)  , pp.1 - 23 , 2015-10
In seventeenth-century Netherlands, many still-life painters experimented with the motif of tiny self-portraits refl ected on fi ne glassware or ornate metalware.Willem van Aelst (1627-1683), one of leading painters of Netherlandish still lifes, represented himself as refl ected on a large glass roemer in his Still Life with Fruits and a Wineglass (1659). The purpose of this study is to reveal what the painter intended to express in this refl ection and to demonstrate its distinctiveness in comparison to other refl ections depicted in Netherlandish still lifes.Van Aelst was born in Delft and traveled to France and Italy. In Florence, he worked for the Medici family as a successful still-life painter and returned to his country in 1656. In the competitive art market of Amsterdam, however, he fi rst experienced a rather diffi cult time as a painter. It was two years after his arrival in the city that he depicted the refl ection of himself, which is shadowy and obscure,but was described at the center of the painting. Objects such as fruits and a darkcoloured curtain behind them were composed as if surrounding the glass roemer.This refl ected self-portrait of Van Aelst has been interpreted merely as a manifestation of his skill and an indication of self-consciousness as an artist in previous studies. It can be also argued, however, that the self-portrayal and objects surrounding it suggest his anxiety as well as his ambition to become a successful still-life painter in Amsterdam. Moreover, considering that the position of refl ected self-portraits had gradually shifted from the peripheral to the central, and that the refl ections had become more like another hidden subject in still-life painting toward the middle of the seventeenth-century, Van Aelst’s refl ected self-portrait of 1659 can be considered as the culmination of the long tradition of refl ected self-portraits since the time of Jan van Eyck.In these regards, Still Life with Fruits and a Wineglass shows a notable difference from other refl ected self-portraits and has an exceptional signifi cance in seventeenth-century Netherlandish still lifes.

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