Even if little is known about his education or contradictory information can be found, Kalf's artistic development can certainly be traced back to the environment of well-known Rotterdam artists. Since his father was a wealthy Rotterdam cloth merchant, he made early acquaintance with upper-class circles that certainly influenced his later work. Later, after a short stay in The Hague, he went to Paris, like many of his Flemish colleagues, and devoted himself almost without exception to still lifes, his early paintings were rather rustic scenes of interiors. Nevertheless, one could already guess where his later passions lay. In Paris he was able to consolidate his knowledge of art and thus gather valuable excitement for his later work. It is said that the intense colorfulness of this still life painter was inspired by his famous contemporary Vermeer. Thus Kalf is considered today as one of the most important representatives of the baroque still life. When many of his works reappeared a few years ago after a large-scale restoration campaign, experts were enthusiastic and even compared him to Vermeer and Rembrandt.
His magnificent and ornate still lifes are extremely precisely rendered on canvas and the brilliance of the colors and attention to detail is almost of breathless subtlety. The light reflections and shadow effects reflected in the deceptively real surfaces, as well as the depth against a mostly dark background, appealed to his audience. Partly because of the apparent simplicity, in that he focused on plain everyday things. Kalf always remained true to his style with different interpretations of the same theme. One could almost speak of serial production, and it was indeed to go in this direction later. Which was also expressed in many of his works, often integrating a Chinese porcelain bowl. Nowadays, one could say that this was one of his trademarks.
From 1653 he lived exclusively in Amsterdam. In the last period of his life, his paintings are no longer so cluttered because he focused on a few exquisite motifs, but he kept modifying them into new arrangements. This was also the time when he began to mass-produce his arrangements slightly reworked. As a result, his works took on increasing depth and were rendered expressively with sensitive lighting accents. As a celebrated artist, Willem Kalf achieved considerable prosperity. Like many masters of his class, he established his own studio and passed on his knowledge to his students. In the last years of his life, in 1680 he painted his last painting, he devoted himself increasingly to buying and selling works of art and also became a sought-after art dealer and appraiser in this field.
Even if little is known about his education or contradictory information can be found, Kalf's artistic development can certainly be traced back to the environment of well-known Rotterdam artists. Since his father was a wealthy Rotterdam cloth merchant, he made early acquaintance with upper-class circles that certainly influenced his later work. Later, after a short stay in The Hague, he went to Paris, like many of his Flemish colleagues, and devoted himself almost without exception to still lifes, his early paintings were rather rustic scenes of interiors. Nevertheless, one could already guess where his later passions lay. In Paris he was able to consolidate his knowledge of art and thus gather valuable excitement for his later work. It is said that the intense colorfulness of this still life painter was inspired by his famous contemporary Vermeer. Thus Kalf is considered today as one of the most important representatives of the baroque still life. When many of his works reappeared a few years ago after a large-scale restoration campaign, experts were enthusiastic and even compared him to Vermeer and Rembrandt.
His magnificent and ornate still lifes are extremely precisely rendered on canvas and the brilliance of the colors and attention to detail is almost of breathless subtlety. The light reflections and shadow effects reflected in the deceptively real surfaces, as well as the depth against a mostly dark background, appealed to his audience. Partly because of the apparent simplicity, in that he focused on plain everyday things. Kalf always remained true to his style with different interpretations of the same theme. One could almost speak of serial production, and it was indeed to go in this direction later. Which was also expressed in many of his works, often integrating a Chinese porcelain bowl. Nowadays, one could say that this was one of his trademarks.
From 1653 he lived exclusively in Amsterdam. In the last period of his life, his paintings are no longer so cluttered because he focused on a few exquisite motifs, but he kept modifying them into new arrangements. This was also the time when he began to mass-produce his arrangements slightly reworked. As a result, his works took on increasing depth and were rendered expressively with sensitive lighting accents. As a celebrated artist, Willem Kalf achieved considerable prosperity. Like many masters of his class, he established his own studio and passed on his knowledge to his students. In the last years of his life, in 1680 he painted his last painting, he devoted himself increasingly to buying and selling works of art and also became a sought-after art dealer and appraiser in this field.
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