Dutch school of the first half of the 17th century

Dutch school of the first half of the seventeenth century.
"Pair of vases".
Oil on canvas. Relined.
Presents apocryphal signature "Jan Van der Hamen".
Measurements: 102 x 49 cm; 68 x 109 cm (frame).
Before us are two oil paintings that show the richness and delicacy of the characteristic still lifes of the Dutch school of the XVII century. These compositions show exuberant floral arrangements, contained in ornate cups that reflect the richness of the period and the technical virtuosity of the artist.
In both paintings, the nearly identical carved vases act as the base supporting the profusion of flowers. Each work is characterized by a vertical and symmetrical arrangement, which directs the eye to the dynamism and variety of the floral elements. The neutral background intensifies the contrast with the vivid tones and textures of the flowers, achieving a vibrant, three-dimensional effect.
In the oil painting on the left, light and pink tones predominate, alternating with warm yellows and pale blues. The composition includes flowers such as peonies, tulips and small bluebells, harmoniously arranged. The attention to detail is palpable in the delicately shaded petals, the soft reflections and the way the leaves frame the central flowers.
In the oil painting on the right, warm tones, such as oranges and reds, become more prominent, balanced by flowers in softer white and pink tones. The shapes of the flowers are similar, but the change in the color palette gives this piece a sense of warmth and drama, in contrast to the freshness of the first work. The dark leaves, which frame the composition, stand out with their precise texture, reinforcing the naturalistic character of the whole.
In both pieces, not only ideal flowers are depicted, but also small details of realism, such as fallen petals and slightly wilted leaves lying on the golden surface where the vases rest. This brings a sense of ephemeral life, a characteristic element of vanitas, common in Dutch art of the period.
On a formal level, the clearly Flemish brushstroke also stands out, but already evolved in the dynamic sense of the Baroque, a tight, precise and very controlled brushstroke, mutable, which adapts to the representation not only of the different textures, but also of the subtle changes of light.
This style, together with certain details such as the elements, bring this work closer to the workshop of Ambrosius Bosschaert, a Dutch still life painter and art dealer born in Flanders. He is recognized as one of the first painters who created floral still lifes as an independent genre and for founding a dynasty of painters dedicated to flower painting. He was born in Antwerp, where he began his career, but spent most of it in Middelburg. At the age of twenty-one he joined the Confraternity of St. Luke in the city, of which he became dean. He started a tradition of painting detailed bouquets of flowers, which often included tulips and roses, and inspired the genre of Dutch flower painting. Thanks to the flourishing Dutch art market of the 17th century, he achieved great success.