Adriaen van der Cabel (Rijswijk, 1630 o 1631 – Lione, 1705)

Adriaen van der Cabel (Rijswijk, 1630 or 1631 – Lyon, June 16, 1705)

Still life with figs, peaches, grapes, and flowers

Oil on canvas, 56,5 x 76 cm

With frame, 76 x 95 cm

The still life described here can be linked to the still-small catalog of paintings by Adriaen van der Cabel, at least concerning works related to this specific genre. Famous primarily for his harbor views and genre scenes, he occasionally moved away from landscape painting, venturing into less familiar territory where he demonstrated a confidence and knowledge of the genre. This came from his experiences throughout his career, where he had the opportunity to meet artists and colleagues who were experts in these subjects, considering the popularity that still life had in Northern Europe, and particularly in the Netherlands, during the 18th century.

The spatial order with which the two baskets—one ceramic, the other wicker—are arranged is evident in their careful off-centering, which allows them to occupy both sides of the scene and visually connect the fruits in the first basket (the figs) with those in the second (the peaches). The lines of force start from the raised surface where the figs are located, which appear slightly in shadow compared to the peaches. The peaches are placed along with their container on a slightly lower surface that the eye is naturally drawn to. Surrounding and enclosing the two containers are some flowers, such as blue and white cornflowers, a yellow tulip, and a poppy accompanied by a white peony, with vivid, contrasting colors. These then give way to walnuts and a broken plum branch, which, however, has not yet lost its ripe fruits and leaves.

In Van der Cabel's other works in this genre, we find the characteristic style of the fruit baskets, as well as the addition of opened fruits, such as shelled walnuts, and a preference for specific ones like peaches and plums. Born and raised in Rijswijk, near The Hague, Cabel trained under the guidance of Jan van Goyen. His career took him to Paris early on in 1655 and to Lyon (c. 1655-58), where he settled at a young age and spent most of his life. However, he lived in Rome between 1659 and 1666, where he updated his studies and his knowledge of Italian art and that of the Flemish artists present in the Eternal City. He also became part of their community, known as the Bentvueghels, among whom he was known by the nickname "Geestigheid," or "humor," which emphasized his joyful and sharp wit. Furthermore, here he became one of Codazzi's regular collaborators, as demonstrated by an architectural piece preserved at the Uffizi Gallery.

Cabel was not the only artist in his family; his brother Engel van der Cabel, also a painter and a member of the Bentvueghels with the nickname "Corydon," accompanied him on his travels and settled with him in Lyon, where he became "Maître-Garde" of the Guild of Saint Luke. This close family and professional relationship highlights the importance of collaboration and artistic exchange within their circle.

Van der Cabel's great legacy is also seen through his pupils: he was the master and godfather of the Lyonese landscape painter Adrien Manglard, who acquired his style and approach to landscapes of both Dutch and Roman-Bolognese origins, which Van der Cabel had gained during his stay in Italy. This transmission of knowledge and styles profoundly influenced Manglard, who in turn became one of the most celebrated landscape painters of his era in Rome. He died in Lyon in 1705.

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