Still Life with Dead Game, Fruits, and Vegetables in a Market, 1614
Oil on canvas
212 x 308 cm (83 1/2 x 121 1/4 in. )
Inscribed lower right: F . SNYDERS . FECIT . 1614 .
Charles H. and Mary F.S. Worcester Collection, 1981.182
The overflowing abundance of this Flemish market stall is enlivened by fighting roosters, an aggressive cat, and a pickpocket. The painting is an important early example of Frans Snyder's dynamic Baroque combination of figures and still-life elements. He was probably inspired by the style of Peter Paul Rubens, who excelled at mythological and religious painting. Snyders often contributed animals or fruit to Ruben's work, and he became the leading Flemish exponent of monumental still-life painting, a genre much sought after by aristocratic collectors.
Rijksmuseum, Amsterdam, Het Nederlandse Stilleven 1550-1720 (catalogue by Alan Chong and Wouter Kloek), June 19-September 19, 1999, no. 13; traveled to the Cleveland Museum of Art as Still-Life Paintings from the Netherlands: 1550 - 1720, October 31, 1999-January 9, 2000.
Hella Robels, “Frans Snyders’ Entwicklung als Stillebenmaler,” Wallraf-Richartz-Jahrbuch 31 (1969), pp. 49, 89 n. 23, fig. 32.
Otto Naumann, “Letter From New York,” Tableau 4 (1981), p. 206 (ill.).
The Art Institute of Chicago Annual Report 1981-82 (Chicago, 1982), p. 9, fig. 2.
Edith Greindl, Les peintres flamands de nature morte au XVIIe siècle (Sterrebeek, 1983), pp. 72-3, 375, no. 68, figs. 44, 206.
Peter C. Sutton, A Guide to Dutch Art in America (Grand Rapids, Michigan, 1986), p. 49.
The Art Institute of Chicago, Master Paintings in The Art Institute of Chicago (Chicago, 1988), pp. 9, 31, ill.
Hella Robels, Frans Snyders: Stilleben- und Tiermaler 1579-1657 (Munich, 1989), p. 183, no. 17, ill.
H.W. Janson, History of Art, 5th ed., rev. and expanded by Anthony F. Janson (New York, 1991), p. 576, fig. 785.
Paul Huvenne in Guy C. Bauman and Walter A. Liedtke, eds., Flemish Paintings in America: A Survey of Early Netherlandish and Flemish Paintings in the Public Collections of North America (Antwerp, 1992), pp. 298-99, ill.
Susan Koslow, Frans Snyders: the Noble Estate: Seventeenth-Century Still-Life and Animal Painting in the Southern Netherlands (Antwerp, 1995), pp. 67-74, 80, 97-104, 131, 133, figs. 73. 115, 116.
Elisabeth A. Honig, Painting and the Market in Early Modern Antwerp (New Haven, 1998), pp. 152-53, pl. 16.
Sybille Ebert-Schifferer, Die Geschichte des Stillebens (Munich, 1998), pp. 149-50, fig. 107.
Alan Chong, “Contained Under the Name of Still Life: The Associations of Still-Life Painting” in Still-Life Paintings from the Netherlands: 1550 - 1720, exh. cat., Rijksmuseum, Amsterdam and Cleveland Museum of Art, 1999, p. 23.
Nathaniel Wolloch, Subjugated Animals. Animals and Anthropocentrism in Early Modern European Culture (Amherst, New York, 2006), pp. 159, 162-64, figs. 3, 4 and 5.
Sarah R. Cohen, “Life and Death in the Northern European Game Piece” in Early Modern Zoology. The Construction of Animals in Science, Literature and the Visual Arts, ed. Karl A.E. Enekel and Paul J. Smith. Intersections. Yearbook for Early Modern Studies 7 (2007), pp. 610-620, fig. 1.
Margaret D. Carroll, Painting and Politics in Northern Europe: Van Eyck, Bruegel, Rubens, and their Contemporaries (University Park, Penn., 2008), p. 166, fig. 157.
Olléon collection by late 19th century; by family descent to Jean Olléon, Paris until at least 1970 [according to letter from Hella Robels, dated July 31, 1988, in curatorial file]. Galerie Birtschansky, Paris, 1980. Galerie Maurice Segoura, New York, 1981; sold to the Art Institute, 1981.