Who painted Stor blomsterbuket i en vase. I forgrunden frugter?

Stor blomsterbuket i en vase. I forgrunden frugter was painted by Ernst Heinrich Løffler in 1767.

Where can I see Stor blomsterbuket i en vase. I forgrunden frugter?

Stor blomsterbuket i en vase. I forgrunden frugter is held by Statens Museum for Kunst.

What movement is Stor blomsterbuket i en vase. I forgrunden frugter?

Stor blomsterbuket i en vase. I forgrunden frugter is associated with Rococo painting.

Artwork

Stor blomsterbuket i en vase. I forgrunden frugter

Ernst Heinrich Løffler , 1767

Stor blomsterbuket i en vase. I forgrunden frugter is an oil painting by the Rococo painting artist Ernst Heinrich Løffler. It dates from 1767 and is held in the collection of the Statens Museum for Kunst.

About this work

Overview

Ernst Heinrich Løffler’s oil on canvas from 1767 presents a generous still‑life composition. A substantial vase brims with an assortment of chiefly white blossoms, interspersed with darker foliage, while a spread of fruit—grapes, apples and other produce—occupies the foreground. The plain backdrop isolates the objects, emphasizing their richness and the painter’s handling of texture and colour.

Subject & Meaning

The work juxtaposes floral abundance with harvested fruit, a conventional motif that celebrates nature’s bounty and the transience of beauty. The dominance of white flowers may suggest purity, while the inclusion of ripe fruit introduces a subtle reminder of decay and the passage of time, inviting contemplation of life’s cycles.

Technique & Style

Løffler employs a smooth, luminous oil technique typical of mid‑eighteenth‑century Northern European still‑life. Careful modelling of petals and leaves creates a tactile sense, while the chiaroscuro of light on the fruit adds depth. The restrained background allows the detailed rendering of surfaces to dominate the visual field.

History & Provenance

Painted in 1767, the canvas entered the collection of Denmark’s national gallery, Statens Museum for Kunst, where it remains on view. Its attribution to Løffler is supported by stylistic comparison with his other documented works, confirming its place within his early oeuvre.