Jan van der Hamen Circle

Circle of JAN VAN DER HAMEN AND LEÓN (Madrid, 1596–1631).
“Still Life.”
Oil on canvas. Relined.
Measurements: 84 x 121 cm; 110 x 147 cm (frame).
A still life from the Madrid school of the first third of the 17th century, closely related to the style developed by Juan van der Hamen y León, one of the leading masters of courtly still life during the reign of Philip IV. The composition, with a distinctly theatrical quality, is arranged on two levels atop a large wooden table, where fruits, flowers, glass vessels, and sweets are carefully distributed and balanced. Particularly striking is the abundance of flowers, which overflow from the vases and interact with the fruit bowls, creating an image of great opulence.
The structure is reminiscent of compositions in the collection of the Museo Nacional del Prado, such as *Still Life with Sweets and Glass Vessels* (1622), *Still Life with Fruits and Vegetables* (1625), and, in particular, the *Still Life with Artichokes, Flowers, and Glass Vessels* (1627), in which Van der Hamen similarly combines still-life elements with a floral repertoire. In all of these works, one can appreciate the same concern for the geometric arrangement of objects, dark backgrounds, and the meticulous depiction of different textures. This painting employs these same techniques, although it presents a more ornamental conception, in line with the courtly taste for sumptuousness.
The combination of fruits and flowers is one of the most significant aspects of the work, as floral painting was precisely one of the areas in which Van der Hamen achieved the greatest recognition. His influence was considerable and gave rise to a wide circle of followers and imitators. Juan van der Hamen was a member of the Archers’ Guard, which prevented him from being appointed painter to the king. He was particularly noted for his contributions to the development of the Madrid still-life tradition, characterized by naturalism and tenebrism, though he was also a renowned portraitist and figure painter. His first commission at court, in 1615, was a still life painted as a pair with another by Sánchez Cotán, whose influence was fundamental to his work. His style also incorporated Italian influences, particularly from Juan Bautista Maíno, as well as Flemish influences linked to his family origins and to artists such as Clara Peeters and Frans Snyders.
His paintings are characterized by precise rendering of textures, naturalism, and tenebrist lighting that highlights objects and food. His compositions, especially his early ones, feature an orderly and simple arrangement based on horizontal and vertical lines that convey austerity, balance, and serenity.