Still Life with Fruit, Metal Pitcher, and Glass - Judith Leyster
Archival giclée
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Description
A still life painting attributed to Judith Leyster, featuring fruit in a basket, a metal pitcher, and a glass. The work exemplifies Dutch Golden Age still life traditions with its attention to detail and light.
This still life painting is attributed to Judith Leyster, a Dutch Golden Age artist. Leyster was one of the few recognised female painters of the period, known for her genre scenes and portraits, as well as her skill in capturing light and texture. Her work often reflects the influence of Frans Hals, with whom she may have studied. Leyster's artistic career was relatively short, as she later focused on managing her household and family. Her work was sometimes misattributed to male contemporaries, and only later was her oeuvre properly recognised. The painting presents a collection of fruit arranged in a basket, accompanied by a metal pitcher and a glass. The fruit includes grapes, apples, and quinces, rendered with attention to their varied colours and textures. The metal pitcher, positioned to the left, reflects light, adding a sense of depth to the composition. A glass, likely filled with wine or water, stands to the right, its transparency contrasting with the solid forms of the other objects. The arrangement sits on a dark surface, which enhances the colours of the fruit and the reflective qualities of the metal and glass. The overall effect is one of quiet domesticity, typical of Dutch still life paintings of the 17th century.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Still Life with Fruit, Metal Pitcher, and Glass - Judith Leyster
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Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
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Artist Biography
Judith Leyster
She was one of the first women admitted to the Haarlem Guild of St Luke, in 1633, at twenty-four. She ran her own workshop and trained students. When one of her apprentices left to join Frans Hals's workshop without Guild permission, she sued Hals. The case was settled: the student's mother paid four guilders in damages. Leyster had asked for eight.
Her best paintings were made in the seven years between 1629 and 1636. The Jolly Toper, Self-Portrait, The Proposition: they are warm, confident, technically assured, painted in a style close to Hals's but with a subtlety of expression that is entirely her own. The Proposition, showing a woman by lamplight being offered money by a man leaning over her shoulder, is one of the most psychologically complex genre paintings of the Dutch Golden Age.
In 1636 she married the painter Jan Miense Molenaer. After the marriage, painting gave way to children and household management. She probably contributed to her husband's workshop, but she stopped signing work in her own name. The solo career lasted seven years.
After her death in 1660 her work was systematically attributed to Hals. The misattribution lasted until 1893, when a painting that had been admired for over a century as a Hals was recognised as hers.
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