A common type of portraiture found in classical era Paris art museums is the animal-type still-life. These paintings, in contrast to the lively, human-focused paintings from around the period, portray dead animals, either as the immediate result from a hunt or prepared among other inanimate crops as a food source. Despite the rather grim focus, these paintings are actually the result of a movement that emerged in western Europe during the 17th and 18th centuries. This movement, prompted by the coffers of rich clientele, consisted of the production of still-lifes of dead game and other often more elaborate scenes by artists, for the means of gasconades by the upper class.
Conspicuous Consumption
This art ‘movement’ can be described with the postliminous term, conspicuous consumption. Conspicuous consumption refers to the use of art and other luxury items by the upper class to publically exhibit their levels of wealth and consequently, their social status. Still-life art became a prime example of this idea in practice during the 1600s and 1700s, with the art, commissioned from well-known, accomplished painters, used to represent the commissioner through the usage of objects, often including the subject either literally, or through presentation through symbols, crests.
This emergence of still-life art in Europe began at the turn of the 17th century, prompted by both the fall of the feudalist system and the exploration of overseas continents. These allowed the accumulation of wealth by social groups never before allowed these vanities, such as merchants and craftsmen, who in turn, catered to this new market of rich clientele, often using the allure of newly discovered materials and objects. Art retained its place as an upper-class-exclusive commodity, yet, growing numbers became interested in owning their own pieces, especially as interest in religious-focused art lowered. Still-life and portraiture especially became popular, with their personal focus allowing this wealthy, but non-established consumer base to showcase themselves and their gained wealth.
Still-life art during this period especially blossomed in western Europe, primarily France, Belgium, and notably, the Netherlands. This still-life art can be classified in a variety of distinctive genres, mostly by what object is portrayed. Of interest to this post, are the animal-type genre and the grand Pronkstilleven paintings.
The Hunt
For these conspicuous consumption still-lifes, hunting trophies became a popular subject. Hunting, once a necessary activity, became recreational to only nobility during the Middle Ages; the boom of the upper classes meant hunting became more popular and accessible. Still, hunting was an exclusive activity, available only to the most wealthy and fit. As such, the results of the hunt became a prime subject for these vanity paintings. A permanent display of spoils allowed the said hunter to display both their wealth and skill, through gratuitous displays of trophies.
A majority of animal-type still-lifes display the subject game as the central theme of the artwork, often displaying a collection of dead animals, surrounded by other tools of wealth. Of note is the category of game animals flaunted; most common are small game: rabbits and birds. These game, as opposed to larger deer, boars, and other large mammal game, act both as a showcase of the hunter’s skill and as an abundance of wealth. Rabbits and birds, due to their natural speed, size, and agility, often prove difficult targets during a hunt. As such, they were reserved for flaunting by only the most perceived skilled hunters. This also serves a practical use: small birds and rabbits, though difficult to hunt, lack the same grandiose larger game provide and are instead consumed as a food source. Their size also makes them more difficult to effectively preserve, as opposed to the common taxidermy trophies of larger hunts, trophies largely owned by groups of higher social status.
Pronkstilleven
Animal-type still-lifes can effectively be separated into two size classes: focused and the Dutch-originated Pronkstilleven. Pronkstilleven, which emerged in the midst of this still-life art movement, focuses on elaborate, complex scenes as opposed to the singular object, empty frames of the smaller focused still-lifes. Pronkstilleven, or ostentatious still-life, is a still life that emphasizes abundance through its large, diverse displays of objects.
The Pronkstilleven proved a popular form of conscious consumption, due to its display of both wealth in the form of chosen subjects and the ability to commission such a complex level of painting. The form of still-life also proved popular to the art community, as they offered a challenging subject and a way to practice texture, symbolism, and light, aspects already present in the still-life genre, but exemplified in the Pronkstillevens.
For the same reasons, hunting trophies were a popular main subject in these more complex paintings, often accompanied by other food, furniture, and objects. The displayed game often included additional animals, originating from rarer species, both exotic and opulent in origin. As a point of contrast by the artist, a dead was often observed by a living animal, often one who assisted in its death, and accompanied by green, fresh plants.
Decline
Despite the animal-type still-lifes’ initial popularity, it steadily declined into the 19th century. The idea of ego-driven paintings and conspicuous consumption evolved away from the hunt and still-life, mostly prompted by an increasingly industrial lifestyle making this consumption and access to previously luxurious goods available to lower social groups. The still-life largely persisted and still exists today, but mostly as a means of exhibiting technical skill on the hand of the artist, rather than for exorbitant means.
For the former audience of these paintings, these quaint trophies no longer proved impressive, as interest flew overseas to more exotic sources. Hunting itself, at least for common game, became a readily accessible pastime, strongly opposed to the once exclusive hobby. The upper classes moved on to trophy hunting larger game. The trophy-focused still-life died out, as their macabre subject matter was eventually regulated to the cabinets of curiosities, accompanying other biological specimens and miscellaneous objects.
The pieces shown were photographed in the Louvre Museum by the author. Most of the artwork, except ‘Lobster Still Life…‘, were by various French and Dutch artists.