After Evert van Aelst (Delft, 1602 - 1657),

After Evert van Aelst (Delft, 1602 - 1657),

Still life

Oil on panel, cm 69 x 84

With frame, cm 95 x 109

The composition under consideration is characterized by an elegant lightness. The fruit is spread freely on a stone sill, while some apples and grapes are presented inside a painted ceramic tray. A flower pot dominates the left side of the painting, breaking the horizontal trend and dynamizing the composition. 

The style seems to derive from that of some late works by Balthasar Van Der Ast, born in Middleburg in 1593-94. In 1632 Ast moved to Delft, where he lived almost until his death in 1657.

It seems likely that the signature is that of a painter who imitates the style of Evert Van Aelst (Delft 1602 - 19 February 1657), also under the influence of Van Der Ast. Characterized by a rather linear, ordered and analytical style, the compositions of Balthasar have influenced in this figuration for the monochrome background, the insects on the background and the presence of decorated ceramics. See the two still lifes of the master in reference, the first preserved at the Fitzwilliam Museum in Cambridge (UK), and the second appeared on the antique market.

Evert Van Aelst, also known as Everald Aalst, was made famous by his still-life paintings of game, fish and vases. He was partly influenced by Pieter Claesz and, as mentioned above, by Balthasar Van Der Ast. He spent four years in France and seven in Italy. The Grand Duke of Tuscany became his patron and rewarded him generously for his works. He returned to the Netherlands and settled in Delft, where he opened a workshop specialising in still life. Emanuel De Witte, his nephew Willem and Jacob Denys were his students. The painting is also closely related to the early works of Willem Van Aelst (1627-1683 at the earliest), grandson and pupil of Evert Van Aelst. The table, for stylistic and compositional analysis, is to be referred to the first youth phase of Evert Van Aelst, still tracing the influences from the primitive character of Balthasar Van Der Ast. See here the pears of Aelst preserved in the Sir William Bird (UK) collection, or those which appeared on an antique market depicting a similar ceramic vase with flowers, a floral composition with poppies of the same yield and a fruit composition in the same style. In the second phase, the compositions will be more articulated and characterized by greater complexity. 

His works are preserved in the Suermondt Ludwig Museum in Aix-la-Chapelle, the Harvard Art Museum in Cambridge and the Rijksmuseum in Amsterdam.

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