Still Life - Nineteenth Century

Nineteenth Century

With the rise of the European Academies, most notably the Académie française which held a central role in Academic art, still life began to fall from favor. The Academies taught the doctrine of the "Hierarchy of genres" (or "Hierarchy of Subject Matter"), which held that a painting's artistic merit was based primarily on its subject. In the Academic system, the highest form of painting consisted of images of historical, Biblical or mythological significance, with still life subjects relegated to the very lowest order of artistic recognition. Instead of using still life to glorify nature, some artists, such as John Constable and Camille Corot, chose landscapes to serve that end.

When Neo-Classicism started to go into decline by the 1830s, genre and portrait painting became the focus for the Realist and Romantic artistic revolutions. Many of the great artists of that period included still life in their body of work. The still life paintings of Francisco Goya, Gustave Courbet, and Eugène Delacroix convey a strong emotional current, and are less concerned with exactitude and more interested in mood. Though patterned on the earlier still life subjects of Chardin, Édouard Manet’s still life paintings are strongly tonal and clearly headed toward Impressionism. Henri Fantin-Latour, using a more traditional technique, was famous for his exquisite flower paintings and made his living almost exclusively painting still life for collectors.

However, it was not until the final decline of the Academic hierarchy in Europe, and the rise of the Impressionist and Post-Impressionist painters, that technique and color harmony triumphed over subject matter, and that still life was once again avidly practiced by artists. In his early still life, Claude Monet shows the influence of Fantin-Latour, but is one of the first to break the tradition of the dark background, which Pierre-Auguste Renoir also discards in Still Life with Bouquet and Fan (1871), with its bright orange background. With Impressionist still life, allegorical and mythological content is completely absent, as is meticulously detailed brush work. Impressionists instead focused on experimentation in broad, dabbing brush strokes, tonal values, and color placement. The Impressionists and Post-Impressionists were inspired by nature’s color schemes but reinterpreted nature with their own color harmonies, which sometimes proved startlingly unnaturalistic. As Gauguin stated, "Colors have their own meanings." Variations in perspective are also tried, such as using tight cropping and high angles, as with Fruit Displayed on a Stand by Gustave Caillebotte, a painting which was mocked at the time as a "display of fruit in a bird’s-eye view."

Vincent van Gogh's "Sunflowers" paintings are some of the best known 19th century still life paintings. Van Gogh uses mostly tones of yellow and rather flat rendering to make a memorable contribution to still life history. His Still Life with Drawing Board (1889) is a self-portrait in still life form, with Van Gogh depicting many items of his personal life, including his pipe, simple food (onions), an inspirational book, and a letter from his brother, all laid out on his table, without his own image present. He also painted his own version of a vanitas painting Still Life with Open Bible, Candle, and Book (1885).

In the United States during Revolutionary times, American artists trained abroad applied European styles to American portrait painting and still life. Charles Willson Peale founded a family of prominent American painters, and as major leader in the American art community, also founded a society for the training of artists as well as a famous museum of natural curiosities. His son Raphaelle Peale was one of a group of early American still life artists, which also included John F. Francis, Charles Bird King, and John Johnston. By the second half of the 19th century, Martin Johnson Heade introduced the American version of the habitat or biotope picture, which placed flowers and birds in simulated outdoor environments. The American trompe-l'œil paintings also flourished during this period, created by John Haberle, William Michael Harnett, and John Frederick Peto. Peto specialized in the nostalgic wall-rack painting while Harnett achieved the highest level of hyper-realism in his pictorial celebrations of American life through familiar objects.