Still Life with Dead Game

1661

Willem van Aelst

Artist, Dutch, 1627 - 1683

Two roosters, a rabbit, and three small birds hang from the top of this vertical still life painting, so the heads of one white rooster and the rabbit come to rest on a dark stone ledge, about a third of the way up the composition. To our left, the tawny-brown rabbit’s nose faces us as the head rests on an azure-blue purse with silver lining. A pair of scissors is tucked behind the strap, which falls down over the ledge. To our right, the head of the rooster curves away with its red coxcomb coming toward us. A black fly rests on the rooster’s comb. The black tail feathers of another rooster arc out behind it, near the upper right corner of the painting. In front of the rabbit's bound, hind legs is a small bird with puffed, silvery-gray feathers, and one black leg tied up with a dark cord. To our left are two more small birds, one with gray, cream, and tan feathers, the other with cream, golden orange, and lapis blue. These two are secured with their beaks pointing upward. Two white and scarlet-red caps, falcon’s hoods, are strung up by white ribbon near the pair of birds. Below the ledge is a carved scene with nude or nearly nude people, but this area is mostly in shadow. Behind the animals is a dark, nearly black wall.

Media Options

Skip thumbnail navigation
Back to thumbnail navigation
This object’s media is free and in the public domain. Read our full Open Access policy for images.

Still lifes with hunting motifs became popular in Dutch art in the latter part of the seventeenth century, at a time when Dutch society grew wealthier and more refined. Willem van Aelst, who worked in Paris and Florence before settling in Amsterdam, was one of the first still-life painters to depict hunting trophies. Many such paintings create a heightened sense of reality by featuring full-scale representations of the objects they portray, as in the life-sized animals here. This kill includes a white rooster, a wild hare, a partridge, and several songbirds. Another large bird, possibly a black rooster, is partially hidden and cannot be identified because the canvas has been cropped, which has eliminated its head. Two red velvet hoods used in falconry dangle from a cord. The fly, attracted to the blood on the rooster's comb, may be the only sign of life, but it is also a harbinger of the decay that follows death. Van Aelst’s superb skill in rendering the illusion of fur, feathers, and flesh set a major precedent for later French, British, and American painters of sporting scenes.

The relief depicting the story of Diana and Actaeon, carved on the stone ledge, is evidence that Van Aelst's painting was intended to represent the general theme of the hunt rather than the spoils of a specific outing. Diana, the chaste goddess of the hunt, splashes water on Actaeon, a mortal huntsman who surprised her at her bath. In punishment for having embarrassed Diana, Actaeon sprouts the antlers of a stag and will be killed by his own hounds.

On View

West Building Main Floor, Gallery 50

Order reproductions from the Gallery Shop

Artwork overview

  • Medium

    oil on canvas

  • Credit Line

    Pepita Milmore Memorial Fund

  • Dimensions

    overall: 84.7 x 67.3 cm (33 3/8 x 26 1/2 in.)

  • Accession

    1982.36.1

More About this Artwork

Two roosters, a rabbit, and three small birds hang from the top of this vertical still life painting, so the heads of one white rooster and the rabbit come to rest on a dark stone ledge, about a third of the way up the composition. To our left, the tawny-brown rabbit’s nose faces us as the head rests on an azure-blue purse with silver lining. A pair of scissors is tucked behind the strap, which falls down over the ledge. To our right, the head of the rooster curves away with its red coxcomb coming toward us. A black fly rests on the rooster’s comb. The black tail feathers of another rooster arc out behind it, near the upper right corner of the painting. In front of the rabbit's bound, hind legs is a small bird with puffed, silvery-gray feathers, and one black leg tied up with a dark cord. To our left are two more small birds, one with gray, cream, and tan feathers, the other with cream, golden orange, and lapis blue. These two are secured with their beaks pointing upward. Two white and scarlet-red caps, falcon’s hoods, are strung up by white ribbon near the pair of birds. Below the ledge is a carved scene with nude or nearly nude people, but this area is mostly in shadow. Behind the animals is a dark, nearly black wall.

Article:  Making Pictures of the Animals We Eat

When Dutch artist Willem van Aelst painted dead animals, did he use the images to grapple with the full circle of life?

Scholarly Article:  Dutch Paintings of the Seventeenth Century: Still Life with Dead Game, 1661

This horizontal painting shows a group of eight light-skinned musicians and onlookers gathered closely around a rectangular, carpet-covered table. The front edge of the table runs parallel to the bottom edge of the painting, and seems close to us. Shown from about the waist up, the men and women’s vivid lapis-blue, coral-red, buttercup-yellow, lilac-purple, and moss-green garments fall in crisp folds. Bright reflections on the fabric suggest a satin-like material. Two women wear feathers in their hair and one man’s hat is plumed. One man, wearing crimson red and black, sits with his back to us to our left on the near side of the table. He holds the neck of a bass viol, about the size of a cello, with his left hand, and points to pages of an open music book with the bow in his right hand. The other people cluster on the far side of the table. A man to the left plays a violin; a woman at the center plays a guitar-sized bandora, and a woman to our right plays a lute. The musicians, along with a man who leans over the table from between the two women, look down at the music books. A young man behind the woman at the center holds up a glass of pale liquid with his right hand as he touches his left forefinger to his smiling lips. A man and woman stand close together in the background to our right, in the top right corner of the canvas.

Scholarly Series:  Dutch Paintings of the Seventeenth Century

Artwork history & notes

Provenance

Probably (sale, Amsterdam, 14 October 1749, no. 16).[1] Dr. C.J.K. van Aalst, Huis-te-Hoevelaken, by 1939;[2] (sale, Sotheby Mak van Waay, Amsterdam, 18 May 1981, no. 1); (Richard Green, London); sold 8 June 1982 to NGA.
[1] This sale was kindly brought to the attention of Arthur K. Wheelock Jr. by Tanya Paul; see her letter of 30 October 2007, in NGA curatorial files. The sale consisted of works from the collections of Johan Diedrick Pompe van Meerdervoort, Burgemeester of Dordrecht, and the painter Jan van Huysum (1682–1749), although the consignor of individual lots is not specified. The work is described as “Een doode Haan en Haas en verder bywerk, kunstig geschilderd door van Aalst, h 2v. 7 en een half d., br. 2 v. 3 d., in een zwarte Lyst met een verguld binnen Lysje. 18-10,” and Paul writes that the NGA painting is the only Van Aelst to her knowledge that depicts both a rooster and a hare. See Gerard Hoet, Catalogus van schilderyen, reprint, Soest, 1976: 268–269.
[2] [2] J.W. von Moltke, ed. Dutch and Flemish Old Masters in the Collection of Dr. C.J.K. van Aalst. Huis-te-Hoevelaken, Holland, foreword by W.R. Valentiner, Verona, 1939: 50, pl. 11.

Associated Names

Exhibition History

1997

  • Rembrandt and the Golden Age: Dutch Paintings from the National Gallery of Art, The Chrysler Museum of Art, Norfolk, Virginia, 1997, unnumbered brochure.

2002

  • Deceptions and Illusions: Five Centuries of Trompe L'Oeil Painting, National Gallery of Art, Washington, D.C., 2002-2003, not in catalogue.

2012

  • Elegance and Refinement: The Still Life Paintings of Willem van Aelst, The Museum of Fine Arts, Houston; Ntaional Gallery of Art, Washington, D.C., 2012, no. 15, repro.

Bibliography

1939

  • Moltke, Joachim Wolfgang, ed. Dutch and Flemish old masters in the collection of Dr. C.J.K. van Aalst, Huis-te-Hoevelaken, Holland. Foreword by Wilhelm R. Valentiner. Translated. Verona, 1939: 50, pl. 11.

1984

  • Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 306, no. 405, color repro.

  • Sullivan, Scott A. The Dutch Gamepiece. Montclair, New Jersey, 1984: 91 n. 32.

1985

  • National Gallery of Art. European Paintings: An Illustrated Catalogue. Washington, 1985: 17, repro.

1988

  • Grimm, Claus. Stilleben: die niederländischen und deutschen Meister. Stuttgart, 1988: 172, repros. 115-117.

1992

  • National Gallery of Art. National Gallery of Art, Washington. New York, 1992: 134, repro.

1995

  • Wheelock, Arthur K., Jr. Dutch Paintings of the Seventeenth Century. The Collections of the National Gallery of Art Systematic Catalogue. Washington, 1995: 3-4, color repro. 2.

  • Barolsky, Paul. "Still Life and Metamorphosis." _Source: Notes in the History of Art _ 14, no. 2 (1995): 36, repro.

1999

  • Chong, Alan, and Wouter Th. Kloek. Still-life Paintings from the Netherlands, 1550-1720. Exh. cat. Rijksmuseum, Amsterdam; Cleveland Museum of Art. Zwolle, 1999: 244, fig. 61a.

2008

  • Paul, Tanya. "'Beschildert met een Glans': Willem van Aelst and artistic self-consciousness in seventeenth-century Dutch still life painting." Ph.D. dissertation, University of Virginia, Charlottesville, 2008: x, 130, 245, 282, 379, fig. 50.

2012

  • Paul, Tanya, et al. Elegance and Refinement: The still-life paintings of Willem van Aelst. Exh. cat. The Museum of Fine Arts, Houston; National Gallery of Art, Washington. New York, 2012: 130-133, no. 15, repro.

Inscriptions

lower right below table top: Guill.mo van. Aelst. 1661.

Wikidata ID

Q20177577

You may be interested in

Loading Results