īy the 16th century, food and flowers would again appear as symbols of the seasons and of the five senses. Decorative mosaics termed "emblema", found in the homes of rich Romans, demonstrated the range of food enjoyed by the upper classes, and also functioned as signs of hospitality and as celebrations of the seasons and of life. Similar still life, more simply decorative in intent, but with realistic perspective, have also been found in the Roman wall paintings and floor mosaics unearthed at Pompeii, Herculaneum and the Villa Boscoreale, including the later familiar motif of a glass bowl of fruit. Peiraikos is mentioned by Pliny the Elder as a panel painter of "low" subjects, such as survive in mosaic versions and provincial wall-paintings at Pompeii: "barbers' shops, cobblers' stalls, asses, eatables and similar subjects". Ancient Greek vase paintings also demonstrate great skill in depicting everyday objects and animals. It was believed that food objects and other items depicted there would, in the afterlife, become real and available for use by the deceased. Still-life paintings often adorn the interior of ancient Egyptian tombs. Roman wall painting in Pompeii (around 70 AD), Naples National Archaeological Museum, Naples, Italy The trompe-l'œil painting, which intends to deceive the viewer into thinking the scene is real, is a specialized type of still life, usually showing inanimate and relatively flat objects. As well as the independent still-life subject, still-life painting encompasses other types of painting with prominent still-life elements, usually symbolic, and "images that rely on a multitude of still-life elements ostensibly to reproduce a 'slice of life '". Still life occupied the lowest rung of the hierarchy of genres, but has been extremely popular with buyers. However, with visual or fine art, the work is not intended merely to illustrate the subject correctly. Because of the use of plants and animals as a subject, the still-life category also shares commonalities with zoological and especially botanical illustration. Live ones are considered animal art, although in practice they were often painted from dead models. The term includes the painting of dead animals, especially game.
Later still-life works are produced with a variety of media and technology, such as found objects, photography, computer graphics, as well as video and sound. Early still-life paintings, particularly before 1700, often contained religious and allegorical symbolism relating to the objects depicted. Still life, as a particular genre, began with Netherlandish painting of the 16th and 17th centuries, and the English term still life derives from the Dutch word stilleven. One advantage of the still-life artform is that it allows an artist much freedom to experiment with the arrangement of elements within a composition of a painting.
#Stil life game professional
With origins in the Middle Ages and Ancient Greco-Roman art, still-life painting emerged as a distinct genre and professional specialization in Western painting by the late 16th century, and has remained significant since then. Juan Sánchez Cotán, Still Life with Game Fowl, Vegetables and Fruits (1602), Museo del Prado MadridĪ still life (plural: still lifes) is a work of art depicting mostly inanimate subject matter, typically commonplace objects which are either natural (food, flowers, dead animals, plants, rocks, shells, etc.) or man-made (drinking glasses, books, vases, jewelry, coins, pipes, etc.).
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