For this task I must annotate either a seventeenth- or eighteenth-century still life image.
I have decided to analyse the Still Life with Empty Glasses, c.1640, by the German artist Sebastien Stoskopff as it is a tour-de-force of illusionism and artistic skill.
In the first part of the exercise I have produced two spider diagrams which describe the main elements of the painting and their relationship to one another:
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- Spider diagram describing the main elements of Still Life with Empty Glasses, c.1640, by Sebastien Stoskopff.
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- Spider diagram describing the main elements of Still Life with Empty Glasses, c.1640, by Sebastien Stoskopff.
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- My sketch of Still Life with Empty Glasses.
This still life is essentially an exercise in demonstrating the artist’s supreme skill with regards to rendering a multitude of translucent, transparent and lustrous surfaces which catch the eye and appeal to the senses. It is a lavish display of wealth and achievement; which is enhanced by the artist’s signature of dulling the background in order to enhance the subject matter and bring it to life.
The assortment of objects is of interest as some of the props possess symbolic meanings. For example, the shards of delicate glass in the foreground (remnants of a beautiful broken wine glass); refer to the fragility and brevity of human existence. They also serve to remind the viewer that all is not perfect in life. Whilst the overturned pitcher of wine implies that the sweetness of life can be easily unbalanced. Similarly, the discarded wine glass to its right suggests the fleeting pleasures of life.
The precariously situated wooden utensil in the foreground draws the viewer’s eyes and creates subtle angles which mirror those of the other implements. Props such as these also serve to generate a sense of recession and projection- a useful tool for any artist when trying to convey perspective.
In my opinion the composition is harmonious and is unified by the combination of effulgent utensils which catch the light as it cascades in via the window. The objects have been arranged in a particularly delightful manner which allows the viewer’s eyes to drift over the composition in a ‘w’ formation from top to bottom, left to right.
The proportions are accurate and convincing; nothing seems out of place or sync. There is plenty of variety in this painting due to the choice of glassware and receptacles which complement one another beautifully and add to the overall narrative. The narrative is curious as the impression is that this is a domestic environment; and yet the objects are expensive and well beyond what the average person would have been able to afford. Therefore I believe that the home and the utensils belong to a wealthy merchant.
I believe there is rhythm and movement in the image as one’s eyes absorb the level of detail and navigate the picture plane.
This still life is a veritable feast for the eyes as it includes a fascinating array of household paraphernalia arranged within a dynamic composition. A similar work by Stoskopff is Vanitas with a vase of theriac, but as an earlier work it lacks the refinement of Still life with Empty Glasses.
In my opinion the artist has used a limited colour palette of lead white, cadmium yellow, yellow ochre, burnt sienna/terra rosa, burnt umber, ultramarine blue and ivory black oil paint. The use of these pigments is particularly successful due to their richness which augments the lavishness of the assemblage.
I find the work hugely appealing as I adore the variety of textures and surfaces and the assortment of objects which make a pleasing composition. The draughtsmanship is excellent and the attention to detail is staggering. My favourite details are the reflections of the window in the glass goblet and the highlights on the wine glasses. This work feeds my imagination as it provides me with the inspiration for my own still life compositions. I have no doubt that Stoskopff was a very accomplished artist as I know from experience how difficult it is to draught transparent and translucent surfaces. It takes years to master the techniques and supreme confidence when working with colour and value.
It seems to me that Still Life with Empty Glasses is a coup de maître and something to be admired for many years to come.
Bibliography
David Koetser Gallery. (2011) Sebastien Stoskopff. [Online]. Available from: http://www.koetsergallery.com/Sebastien-Stoskopff-Strasbourg-1597-Idstein-1657-Vanitas-with-vase-theriac-DesktopDefault.aspx?tabid=6&tabindex=5&OBJECTID=458190 [Accessed 9 June 2015 and 12 July 2015]
Norton Simon Museum. (2015) Stoskopff, Sebastian. [Online]. Available from: http://www.nortonsimon.org/collections/browse_artist.php?name=Stoskopff%2C+Sebastian [Accessed 3rd July 2008]
Tate. (n.d.) Memento mori. [Online]. Available from:
http://www.tate.org.uk/learn/online-resources/glossary/m/memento-mori [Accessed 17th June and 12th July 2015]
Tate. (n.d.) Picasso: Peace and Freedom: Room 2: Still Lifes. [Online]. Available from:
http://www.tate.org.uk/whats-on/tate-liverpool/exhibition/picasso-peace-and-freedom/picasso-peace-and-freedom-explore-1 [Accessed 17th June and 12th July 2015]
Tate. (n.d.) Still life. [Online]. Available from:
http://www.tate.org.uk/learn/online-resources/glossary/s/still-life [Accessed 17th June and 12th July 2015]
Tate. (n.d.) Vanitas. [Online]. Available from:
http://www.tate.org.uk/learn/online-resources/glossary/v/vanitas [Accessed 17th June and 12th July 2015]
Lucy Dean 