Feeds:
Posts
Comments

Posts Tagged ‘Severin Roesen’

This post comes to us from Rena Tobey, Curatorial Intern.

Abundance of Fruit, 1860.  Severin Roesen (ca. 1815-ca. 1872).  Oil on panel.  Long-term loan from the Jack and Susan Warner Collection, 2011.115LTL.

Abundance of Fruit, 1860. Severin Roesen (ca. 1815-ca. 1872). Oil on panel. Long-term loan from the Jack and Susan Warner Collection, 2011.115LTL.

Severin Roesen gives us a wonderful July 4th holiday gift with Abundance of Fruit, as beautiful, succulent, and enticing today as it was in 1860 when it was painted.

(more…)

Read Full Post »

Fruit and Wine Glass, ca. 1860-65. Severin Roesen (b. Germany, 1815/16-after 1872). Oil on canvas, 29 7/8 x 25 1/8 in. New Britain Museum of American Art, Charles F. Smith Fund, 1964.53.

In the hierarchy of academic pursuits, still-life painting was considered the least demanding art form. Nevertheless, fruit and flower paintings, which were decorative and opulent, were widely popular in the 19th and 20th centuries. Some painters duplicated nature so convincingly that they fooled viewers into thinking that the objects they painted were real. Severin Roesen (1815–1872), William Michael Harnett (1848–1892), John Frederick Peto (1854–1907), and John Haberle (1856–1933) were masters of this trompe l’oeil (French for “fool the eye”) tradition. Their highly developed realism was based on a thorough grounding in 19th century academic theories that stressed the faithful observation of nature.

When looking at Roesen’s bountiful still life, you immediately admire the great diversity of fruits: raspberries, strawberries, plums, cherries, peaches, apples, a single pear, half a lemon, and three varieties of grapes. Fruit tumbles over the shelves, enticing us to reach for it. (more…)

Read Full Post »