Reproduction French 19th Century ogee frame with moulded leaf-&-piastres ornament
19th century art lovers had a great appetite for still life paintings of game, fruit and flowers. They liked detailed work and the accurate depiction of natural objects (which was itself fed by the increasing interest in scientific discovery and classification), and they also preferred overall masses of decoration – paintings hung on Morris wallpaper, furniture crowded into rooms, patterned carpets, curtains and upholstery. Flower paintings were the feminine version of the gamepieces deemed suitable for halls and studies; they could hang in the parlours, boudoirs and bedrooms belonging to women. They were also suitable to be painted by women: ‘such occupations might be pursued in the strict seclusion of home, to which custom and public sentiment assigns the fair student’. This was a long-lived genre, extending through the 20th century, changing only slightly in elaboration and style; Camill Göbl continued to produce her large, formal and beautifully-observed flowerrpieces throughout most of her life. They are influenced by artists of the Dutch Golden Age, such as Jan Davidsz. de Heem. Many of them are painted in a single harmony; this particular example is very characteristic of her work, with a basic note of warm reds and pinks, picked out in white and blue.
See ‘Flower painting’, V & A website.