Who painted Stilleven met vier vruchten, glas en aardewerk?

Stilleven met vier vruchten, glas en aardewerk was painted by François Bonvin in 1850.

Where can I see Stilleven met vier vruchten, glas en aardewerk?

Stilleven met vier vruchten, glas en aardewerk is held by Rijksmuseum.

What movement is Stilleven met vier vruchten, glas en aardewerk?

Stilleven met vier vruchten, glas en aardewerk is associated with Realism.

Can I buy a print of Stilleven met vier vruchten, glas en aardewerk?

Museum-quality prints of Stilleven met vier vruchten, glas en aardewerk are available made-to-order from Artifact World Gallery.

Artwork

Stilleven met vier vruchten, glas en aardewerk

François Bonvin , 1850

Stilleven met vier vruchten, glas en aardewerk is an oil painting by the Realist artist François Bonvin. It dates from 1850 and is held in the collection of the Rijksmuseum.

About this work

Overview

François Bonvin’s oil painting Stilleven met vier vruchten, glas en aardewerk, executed around 1850, presents a modest still‑life composition. The work is part of the Rijksmuseum’s collection and measures a modest size, allowing close inspection of its carefully arranged objects against a deep, almost black backdrop.

Subject & Meaning

The tableau features a dark wooden table supporting a large glass bottle filled with a dark liquid, a smaller green bottle, a rust‑colored earthenware bowl, four pale onion‑like bulbs, and a modest bundle of dried herbs or straw. The sparse arrangement emphasizes the everyday nature of the items, inviting contemplation of ordinary materiality.

Technique & Style

Bonvin employs a pronounced chiaroscuro, using the dark background to make the objects appear illuminated from an unseen source. Thick impasto in the glass and bowl surfaces creates a tactile quality, while the smooth modeling of the bulbs and herbs contrasts with the more textured areas, enhancing the sense of depth.

History & Provenance

Created circa 1850, the painting entered the Rijksmuseum’s holdings in the 20th century, though the precise acquisition details are not widely recorded. It remains a representative example of Bonvin’s mid‑century still‑life practice, reflecting the artist’s interest in modest domestic subjects.