https://artwiki.pnwwebdev.com/index.php?action=history&feed=atom&title=Willem_van_AelstWillem van Aelst - Revision history2026-04-22T16:00:43ZRevision history for this page on the wikiMediaWiki 1.43.6https://artwiki.pnwwebdev.com/index.php?title=Willem_van_Aelst&diff=394&oldid=prevBradley.t.nixon at 00:53, 6 September 20252025-09-06T00:53:34Z<p></p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 17:53, 5 September 2025</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>== Biography ==</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>== Biography ==</div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Willem van Aelst grew up in Delft, where his father served as one of the city’s notaries. He was a pupil of his uncle, Evert van Aelst (1602–1657), a still-life painter in Delft. Willem joined the town’s Saint Luke’s Guild on November 9, 1643. Little is known about his personal life, but we know that he lived in France between 1645/1646 and 1651, and subsequently in Italy until 1656. While in Florence, Van Aelst worked for the Medici family, specifically the brothers Cardinal Gian Carlo and Cardinal Leopoldo de’ Medici. Van Aelst created at least eleven paintings for them, as well as works for collectors in Bologna and Rome. Ferdinand II de’ Medici, the Grand Duke of Tuscany, supposedly gave Van Aelst a gold medal and gold chain for his service.<ref>Tanya Paul, “‘Beschildert met een glans’: Willem van Aelst and Artistic Self-Consciousness in Seventeenth-Century Dutch Still Life Painting,” PhD diss. (University of Virginia, 2008), 64–82.</ref> In 1656 Van Aelst returned to the north and, after a short period of time in Delft, moved to Amsterdam, where he remained for the rest of his life. At his death he left a wife and three children.[[File:Still Life with Dead Game 1661 Willem van Aelst.jpg|thumb|Still Life with Dead Game 1661 Willem van Aelst]]</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Willem van Aelst grew up in Delft, where his father served as one of the city’s notaries. He was a pupil of his uncle, Evert van Aelst (1602–1657), a still-life painter in Delft. Willem joined the town’s Saint Luke’s Guild on November 9, 1643. Little is known about his personal life, but we know that he lived in France between 1645/1646 and 1651, and subsequently in Italy until 1656. While in Florence, Van Aelst worked for the Medici family, specifically the brothers Cardinal Gian Carlo and Cardinal Leopoldo de’ Medici. Van Aelst created at least eleven paintings for them, as well as works for collectors in Bologna and Rome. Ferdinand II de’ Medici, the Grand Duke of Tuscany, supposedly gave Van Aelst a gold medal and gold chain for his service.<ref>Tanya Paul, “‘Beschildert met een glans’: Willem van Aelst and Artistic Self-Consciousness in Seventeenth-Century Dutch Still Life Painting,” PhD diss. (University of Virginia, 2008), 64–82.</ref> In 1656 Van Aelst returned to the north and, after a short period of time in Delft, moved to Amsterdam, where he remained for the rest of his life. At his death he left a wife and three children.[[File:Still Life with Dead Game 1661 Willem van Aelst.jpg|thumb<ins style="font-weight: bold; text-decoration: none;">|link=https://upload.wikimedia.org/wikipedia/commons/thumb/b/b8/Still_Life_with_Dead_Game_1661_Willem_van_Aelst.jpg/960px-Still_Life_with_Dead_Game_1661_Willem_van_Aelst.jpg</ins>|Still Life with Dead Game 1661 Willem van Aelst]]</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In 1672 Van Aelst was one of seven Dutch painters, including Otto van Schrieck (1619/1620–1678), who were asked to judge the merits of a collection of Italian paintings sold to the great elector of Brandenburg by the Amsterdam art dealer Gerrit Uylenburgh. They declared the paintings worthless.<ref>Abraham Bredius, ''Catalogus van het Rijksmuseum van schilderijen'' (Amsterdam, 1886), 41–46.</ref> The flower painter Rachel Ruysch (1664–1750) was a student of Van Aelst, and he influenced a number of other artists, including Ferguson, William Gowe, Elias van den Broeck (c. 1650–1708), and Simon Verelst (1644–1721).</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In 1672 Van Aelst was one of seven Dutch painters, including Otto van Schrieck (1619/1620–1678), who were asked to judge the merits of a collection of Italian paintings sold to the great elector of Brandenburg by the Amsterdam art dealer Gerrit Uylenburgh. They declared the paintings worthless.<ref>Abraham Bredius, ''Catalogus van het Rijksmuseum van schilderijen'' (Amsterdam, 1886), 41–46.</ref> The flower painter Rachel Ruysch (1664–1750) was a student of Van Aelst, and he influenced a number of other artists, including Ferguson, William Gowe, Elias van den Broeck (c. 1650–1708), and Simon Verelst (1644–1721).</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Van Aelst specialized in still-life painting, but within this genre he was quite versatile, painting fruit and flower pieces, fish and forest-floor still lifes, and above all, hunting scenes with dead game and hunting gear. Van Aelst seems to have been particularly influential in the development of this last type of picture, which became very popular after midcentury, and his paintings were greatly praised and fetched high prices.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Van Aelst specialized in still-life painting, but within this genre he was quite versatile, painting fruit and flower pieces, fish and forest-floor still lifes, and above all, hunting scenes with dead game and hunting gear. Van Aelst seems to have been particularly influential in the development of this last type of picture, which became very popular after midcentury, and his paintings were greatly praised and fetched high prices.</div></td></tr>
</table>Bradley.t.nixonhttps://artwiki.pnwwebdev.com/index.php?title=Willem_van_Aelst&diff=15&oldid=prevBnixon at 02:02, 5 September 20252025-09-05T02:02:05Z<p></p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 19:02, 4 September 2025</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>== Biography ==</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>== Biography ==</div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Willem van Aelst grew up in Delft, where his father served as one of the city’s notaries. He was a pupil of his uncle, Evert van Aelst (1602–1657), a still-life painter in Delft. Willem joined the town’s Saint Luke’s Guild on November 9, 1643. Little is known about his personal life, but we know that he lived in France between 1645/1646 and 1651, and subsequently in Italy until 1656. While in Florence, Van Aelst worked for the Medici family, specifically the brothers Cardinal Gian Carlo and Cardinal Leopoldo de’ Medici. Van Aelst created at least eleven paintings for them, as well as works for collectors in Bologna and Rome. Ferdinand II de’ Medici, the Grand Duke of Tuscany, supposedly gave Van Aelst a gold medal and gold chain for his service.<ref>Tanya Paul, “‘Beschildert met een glans’: Willem van Aelst and Artistic Self-Consciousness in Seventeenth-Century Dutch Still Life Painting,” PhD diss. (University of Virginia, 2008), 64–82.</ref> In 1656 Van Aelst returned to the north and, after a short period of time in Delft, moved to Amsterdam, where he remained for the rest of his life. At his death he left a wife and three children.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Willem van Aelst grew up in Delft, where his father served as one of the city’s notaries. He was a pupil of his uncle, Evert van Aelst (1602–1657), a still-life painter in Delft. Willem joined the town’s Saint Luke’s Guild on November 9, 1643. Little is known about his personal life, but we know that he lived in France between 1645/1646 and 1651, and subsequently in Italy until 1656. While in Florence, Van Aelst worked for the Medici family, specifically the brothers Cardinal Gian Carlo and Cardinal Leopoldo de’ Medici. Van Aelst created at least eleven paintings for them, as well as works for collectors in Bologna and Rome. Ferdinand II de’ Medici, the Grand Duke of Tuscany, supposedly gave Van Aelst a gold medal and gold chain for his service.<ref>Tanya Paul, “‘Beschildert met een glans’: Willem van Aelst and Artistic Self-Consciousness in Seventeenth-Century Dutch Still Life Painting,” PhD diss. (University of Virginia, 2008), 64–82.</ref> In 1656 Van Aelst returned to the north and, after a short period of time in Delft, moved to Amsterdam, where he remained for the rest of his life. At his death he left a wife and three children.<ins style="font-weight: bold; text-decoration: none;">[[File:Still Life with Dead Game 1661 Willem van Aelst.jpg|thumb|Still Life with Dead Game 1661 Willem van Aelst]]</ins></div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div> </div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>In 1672 Van Aelst was one of seven Dutch painters, including Otto van Schrieck (1619/1620–1678), who were asked to judge the merits of a collection of Italian paintings sold to the great elector of Brandenburg by the Amsterdam art dealer Gerrit Uylenburgh. They declared the paintings worthless.<ref>Abraham Bredius, ''Catalogus van het Rijksmuseum van schilderijen'' (Amsterdam, 1886), 41–46.</ref> The flower painter Rachel Ruysch (1664–1750) was a student of Van Aelst, and he influenced a number of other artists, including Ferguson, William Gowe, Elias van den Broeck (c. 1650–1708), and Simon Verelst (1644–1721).</div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>In 1672 Van Aelst was one of seven Dutch painters, including Otto van Schrieck (1619/1620–1678), who were asked to judge the merits of a collection of Italian paintings sold to the great elector of Brandenburg by the Amsterdam art dealer Gerrit Uylenburgh. They declared the paintings worthless.<ref>Abraham Bredius, ''Catalogus van het Rijksmuseum van schilderijen'' (Amsterdam, 1886), 41–46.</ref> The flower painter Rachel Ruysch (1664–1750) was a student of Van Aelst, and he influenced a number of other artists, including Ferguson, William Gowe, Elias van den Broeck (c. 1650–1708), and Simon Verelst (1644–1721).<del style="font-weight: bold; text-decoration: none;">[[File:Still Life with Dead Game 1661 Willem van Aelst.jpg|thumb|Still Life with Dead Game 1661 Willem van Aelst]]</del></div></td><td colspan="2" class="diff-side-added"></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Van Aelst specialized in still-life painting, but within this genre he was quite versatile, painting fruit and flower pieces, fish and forest-floor still lifes, and above all, hunting scenes with dead game and hunting gear. Van Aelst seems to have been particularly influential in the development of this last type of picture, which became very popular after midcentury, and his paintings were greatly praised and fetched high prices.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Van Aelst specialized in still-life painting, but within this genre he was quite versatile, painting fruit and flower pieces, fish and forest-floor still lifes, and above all, hunting scenes with dead game and hunting gear. Van Aelst seems to have been particularly influential in the development of this last type of picture, which became very popular after midcentury, and his paintings were greatly praised and fetched high prices.</div></td></tr>
</table>Bnixonhttps://artwiki.pnwwebdev.com/index.php?title=Willem_van_Aelst&diff=14&oldid=prevBnixon at 02:01, 5 September 20252025-09-05T02:01:28Z<p></p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 19:01, 4 September 2025</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Willem van Aelst grew up in Delft, where his father served as one of the city’s notaries. He was a pupil of his uncle, Evert van Aelst (1602–1657), a still-life painter in Delft. Willem joined the town’s Saint Luke’s Guild on November 9, 1643. Little is known about his personal life, but we know that he lived in France between 1645/1646 and 1651, and subsequently in Italy until 1656. While in Florence, Van Aelst worked for the Medici family, specifically the brothers Cardinal Gian Carlo and Cardinal Leopoldo de’ Medici. Van Aelst created at least eleven paintings for them, as well as works for collectors in Bologna and Rome. Ferdinand II de’ Medici, the Grand Duke of Tuscany, supposedly gave Van Aelst a gold medal and gold chain for his service.<ref>Tanya Paul, “‘Beschildert met een glans’: Willem van Aelst and Artistic Self-Consciousness in Seventeenth-Century Dutch Still Life Painting,” PhD diss. (University of Virginia, 2008), 64–82.</ref> In 1656 Van Aelst returned to the north and, after a short period of time in Delft, moved to Amsterdam, where he remained for the rest of his life. At his death he left a wife and three children.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Willem van Aelst grew up in Delft, where his father served as one of the city’s notaries. He was a pupil of his uncle, Evert van Aelst (1602–1657), a still-life painter in Delft. Willem joined the town’s Saint Luke’s Guild on November 9, 1643. Little is known about his personal life, but we know that he lived in France between 1645/1646 and 1651, and subsequently in Italy until 1656. While in Florence, Van Aelst worked for the Medici family, specifically the brothers Cardinal Gian Carlo and Cardinal Leopoldo de’ Medici. Van Aelst created at least eleven paintings for them, as well as works for collectors in Bologna and Rome. Ferdinand II de’ Medici, the Grand Duke of Tuscany, supposedly gave Van Aelst a gold medal and gold chain for his service.<ref>Tanya Paul, “‘Beschildert met een glans’: Willem van Aelst and Artistic Self-Consciousness in Seventeenth-Century Dutch Still Life Painting,” PhD diss. (University of Virginia, 2008), 64–82.</ref> In 1656 Van Aelst returned to the north and, after a short period of time in Delft, moved to Amsterdam, where he remained for the rest of his life. At his death he left a wife and three children.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>In 1672 Van Aelst was one of seven Dutch painters, including Otto van Schrieck (1619/1620–1678), who were asked to judge the merits of a collection of Italian paintings sold to the great elector of Brandenburg by the Amsterdam art dealer Gerrit Uylenburgh. They declared the paintings worthless.<ref>Abraham Bredius, ''Catalogus van het Rijksmuseum van schilderijen'' (Amsterdam, 1886), 41–46.</ref> The flower painter Rachel Ruysch (1664–1750) was a student of Van Aelst, and he influenced a number of other artists, including Ferguson, William Gowe, Elias van den Broeck (c. 1650–1708), and Simon Verelst (1644–1721).</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>In 1672 Van Aelst was one of seven Dutch painters, including Otto van Schrieck (1619/1620–1678), who were asked to judge the merits of a collection of Italian paintings sold to the great elector of Brandenburg by the Amsterdam art dealer Gerrit Uylenburgh. They declared the paintings worthless.<ref>Abraham Bredius, ''Catalogus van het Rijksmuseum van schilderijen'' (Amsterdam, 1886), 41–46.</ref> The flower painter Rachel Ruysch (1664–1750) was a student of Van Aelst, and he influenced a number of other artists, including Ferguson, William Gowe, Elias van den Broeck (c. 1650–1708), and Simon Verelst (1644–1721).<ins style="font-weight: bold; text-decoration: none;">[[File:Still Life with Dead Game 1661 Willem van Aelst.jpg|thumb|Still Life with Dead Game 1661 Willem van Aelst]]</ins></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Van Aelst specialized in still-life painting, but within this genre he was quite versatile, painting fruit and flower pieces, fish and forest-floor still lifes, and above all, hunting scenes with dead game and hunting gear. Van Aelst seems to have been particularly influential in the development of this last type of picture, which became very popular after midcentury, and his paintings were greatly praised and fetched high prices.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Van Aelst specialized in still-life painting, but within this genre he was quite versatile, painting fruit and flower pieces, fish and forest-floor still lifes, and above all, hunting scenes with dead game and hunting gear. Van Aelst seems to have been particularly influential in the development of this last type of picture, which became very popular after midcentury, and his paintings were greatly praised and fetched high prices.</div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;"></del></div></td><td colspan="2" class="diff-side-added"></td></tr>
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</table>Bnixonhttps://artwiki.pnwwebdev.com/index.php?title=Willem_van_Aelst&diff=13&oldid=prevBnixon at 02:00, 5 September 20252025-09-05T02:00:45Z<p></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Van Aelst specialized in still-life painting, but within this genre he was quite versatile, painting fruit and flower pieces, fish and forest-floor still lifes, and above all, hunting scenes with dead game and hunting gear. Van Aelst seems to have been particularly influential in the development of this last type of picture, which became very popular after midcentury, and his paintings were greatly praised and fetched high prices.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Van Aelst specialized in still-life painting, but within this genre he was quite versatile, painting fruit and flower pieces, fish and forest-floor still lifes, and above all, hunting scenes with dead game and hunting gear. Van Aelst seems to have been particularly influential in the development of this last type of picture, which became very popular after midcentury, and his paintings were greatly praised and fetched high prices.</div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
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</table>Bnixonhttps://artwiki.pnwwebdev.com/index.php?title=Willem_van_Aelst&diff=12&oldid=prevBnixon at 01:48, 5 September 20252025-09-05T01:48:13Z<p></p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 18:48, 4 September 2025</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Willem van Aelst grew up in Delft, where his father served as one of the city’s notaries. He was a pupil of his uncle, Evert van Aelst (1602–1657), a still-life painter in Delft. Willem joined the town’s Saint Luke’s Guild on November 9, 1643. Little is known about his personal life, but we know that he lived in France between 1645/1646 and 1651, and subsequently in Italy until 1656. While in Florence, Van Aelst worked for the Medici family, specifically the brothers Cardinal Gian Carlo and Cardinal Leopoldo de’ Medici. Van Aelst created at least eleven paintings for them, as well as works for collectors in Bologna and Rome. Ferdinand II de’ Medici, the Grand Duke of Tuscany, supposedly gave Van Aelst a gold medal and gold chain for his service.<ref>Tanya Paul, “‘Beschildert met een glans’: Willem van Aelst and Artistic Self-Consciousness in Seventeenth-Century Dutch Still Life Painting,” PhD diss. (University of Virginia, 2008), 64–82.</ref> In 1656 Van Aelst returned to the north and, after a short period of time in Delft, moved to Amsterdam, where he remained for the rest of his life. At his death he left a wife and three children.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Willem van Aelst grew up in Delft, where his father served as one of the city’s notaries. He was a pupil of his uncle, Evert van Aelst (1602–1657), a still-life painter in Delft. Willem joined the town’s Saint Luke’s Guild on November 9, 1643. Little is known about his personal life, but we know that he lived in France between 1645/1646 and 1651, and subsequently in Italy until 1656. While in Florence, Van Aelst worked for the Medici family, specifically the brothers Cardinal Gian Carlo and Cardinal Leopoldo de’ Medici. Van Aelst created at least eleven paintings for them, as well as works for collectors in Bologna and Rome. Ferdinand II de’ Medici, the Grand Duke of Tuscany, supposedly gave Van Aelst a gold medal and gold chain for his service.<ref>Tanya Paul, “‘Beschildert met een glans’: Willem van Aelst and Artistic Self-Consciousness in Seventeenth-Century Dutch Still Life Painting,” PhD diss. (University of Virginia, 2008), 64–82.</ref> In 1656 Van Aelst returned to the north and, after a short period of time in Delft, moved to Amsterdam, where he remained for the rest of his life. At his death he left a wife and three children.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>In 1672 Van Aelst was one of seven Dutch painters, including Otto van Schrieck (1619/1620–1678), who were asked to judge the merits of a collection of Italian paintings sold to the great elector of Brandenburg by the Amsterdam art dealer Gerrit Uylenburgh. They declared the paintings worthless.<ref>Abraham Bredius,''Catalogus van het Rijksmuseum van schilderijen'' (Amsterdam, 1886), 41–46.</ref> The flower painter Rachel Ruysch (1664–1750) was a student of Van Aelst, and he influenced a number of other artists, including Ferguson, William Gowe, Elias van den Broeck (c. 1650–1708), and Simon Verelst (1644–1721).</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>In 1672 Van Aelst was one of seven Dutch painters, including Otto van Schrieck (1619/1620–1678), who were asked to judge the merits of a collection of Italian paintings sold to the great elector of Brandenburg by the Amsterdam art dealer Gerrit Uylenburgh. They declared the paintings worthless.<ref>Abraham Bredius, ''Catalogus van het Rijksmuseum van schilderijen'' (Amsterdam, 1886), 41–46.</ref> The flower painter Rachel Ruysch (1664–1750) was a student of Van Aelst, and he influenced a number of other artists, including Ferguson, William Gowe, Elias van den Broeck (c. 1650–1708), and Simon Verelst (1644–1721).</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Van Aelst specialized in still-life painting, but within this genre he was quite versatile, painting fruit and flower pieces, fish and forest-floor still lifes, and above all, hunting scenes with dead game and hunting gear. Van Aelst seems to have been particularly influential in the development of this last type of picture, which became very popular after midcentury, and his paintings were greatly praised and fetched high prices.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Van Aelst specialized in still-life painting, but within this genre he was quite versatile, painting fruit and flower pieces, fish and forest-floor still lifes, and above all, hunting scenes with dead game and hunting gear. Van Aelst seems to have been particularly influential in the development of this last type of picture, which became very popular after midcentury, and his paintings were greatly praised and fetched high prices.</div></td></tr>
</table>Bnixonhttps://artwiki.pnwwebdev.com/index.php?title=Willem_van_Aelst&diff=11&oldid=prevBnixon: /* Biography */2025-09-05T01:47:00Z<p><span class="autocomment">Biography</span></p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 18:47, 4 September 2025</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Willem van Aelst grew up in Delft, where his father served as one of the city’s notaries. He was a pupil of his uncle, Evert van Aelst (1602–1657), a still-life painter in Delft. Willem joined the town’s Saint Luke’s Guild on November 9, 1643. Little is known about his personal life, but we know that he lived in France between 1645/1646 and 1651, and subsequently in Italy until 1656. While in Florence, Van Aelst worked for the Medici family, specifically the brothers Cardinal Gian Carlo and Cardinal Leopoldo de’ Medici. Van Aelst created at least eleven paintings for them, as well as works for collectors in Bologna and Rome. Ferdinand II de’ Medici, the Grand Duke of Tuscany, supposedly gave Van Aelst a gold medal and gold chain for his service.<ref>Tanya Paul, “‘Beschildert met een glans’: Willem van Aelst and Artistic Self-Consciousness in Seventeenth-Century Dutch Still Life Painting,” PhD diss. (University of Virginia, 2008), 64–82.</ref> In 1656 Van Aelst returned to the north and, after a short period of time in Delft, moved to Amsterdam, where he remained for the rest of his life. At his death he left a wife and three children.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Willem van Aelst grew up in Delft, where his father served as one of the city’s notaries. He was a pupil of his uncle, Evert van Aelst (1602–1657), a still-life painter in Delft. Willem joined the town’s Saint Luke’s Guild on November 9, 1643. Little is known about his personal life, but we know that he lived in France between 1645/1646 and 1651, and subsequently in Italy until 1656. While in Florence, Van Aelst worked for the Medici family, specifically the brothers Cardinal Gian Carlo and Cardinal Leopoldo de’ Medici. Van Aelst created at least eleven paintings for them, as well as works for collectors in Bologna and Rome. Ferdinand II de’ Medici, the Grand Duke of Tuscany, supposedly gave Van Aelst a gold medal and gold chain for his service.<ref>Tanya Paul, “‘Beschildert met een glans’: Willem van Aelst and Artistic Self-Consciousness in Seventeenth-Century Dutch Still Life Painting,” PhD diss. (University of Virginia, 2008), 64–82.</ref> In 1656 Van Aelst returned to the north and, after a short period of time in Delft, moved to Amsterdam, where he remained for the rest of his life. At his death he left a wife and three children.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>In 1672 Van Aelst was one of seven Dutch painters, including Otto van Schrieck (1619/1620–1678), who were asked to judge the merits of a collection of Italian paintings sold to the great elector of Brandenburg by the Amsterdam art dealer Gerrit Uylenburgh. They declared the paintings worthless.<del style="font-weight: bold; text-decoration: none;"><nowiki></del><ref>Abraham Bredius, <del style="font-weight: bold; text-decoration: none;"></nowiki></del>''Catalogus van het Rijksmuseum van schilderijen'' (Amsterdam, 1886), 41–46.<del style="font-weight: bold; text-decoration: none;"><nowiki></del></ref<del style="font-weight: bold; text-decoration: none;">></nowiki</del>> The flower painter Rachel Ruysch (1664–1750) was a student of Van Aelst, and he influenced a number of other artists, including Ferguson, William Gowe, Elias van den Broeck (c. 1650–1708), and Simon Verelst (1644–1721).</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>In 1672 Van Aelst was one of seven Dutch painters, including Otto van Schrieck (1619/1620–1678), who were asked to judge the merits of a collection of Italian paintings sold to the great elector of Brandenburg by the Amsterdam art dealer Gerrit Uylenburgh. They declared the paintings worthless.<ref>Abraham Bredius,''Catalogus van het Rijksmuseum van schilderijen'' (Amsterdam, 1886), 41–46.</ref> The flower painter Rachel Ruysch (1664–1750) was a student of Van Aelst, and he influenced a number of other artists, including Ferguson, William Gowe, Elias van den Broeck (c. 1650–1708), and Simon Verelst (1644–1721).</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Van Aelst specialized in still-life painting, but within this genre he was quite versatile, painting fruit and flower pieces, fish and forest-floor still lifes, and above all, hunting scenes with dead game and hunting gear. Van Aelst seems to have been particularly influential in the development of this last type of picture, which became very popular after midcentury, and his paintings were greatly praised and fetched high prices.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Van Aelst specialized in still-life painting, but within this genre he was quite versatile, painting fruit and flower pieces, fish and forest-floor still lifes, and above all, hunting scenes with dead game and hunting gear. Van Aelst seems to have been particularly influential in the development of this last type of picture, which became very popular after midcentury, and his paintings were greatly praised and fetched high prices.</div></td></tr>
</table>Bnixonhttps://artwiki.pnwwebdev.com/index.php?title=Willem_van_Aelst&diff=10&oldid=prevBnixon at 01:45, 5 September 20252025-09-05T01:45:32Z<p></p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 18:45, 4 September 2025</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Willem van Aelst grew up in Delft, where his father served as one of the city’s notaries. He was a pupil of his uncle, Evert van Aelst (1602–1657), a still-life painter in Delft. Willem joined the town’s Saint Luke’s Guild on November 9, 1643. Little is known about his personal life, but we know that he lived in France between 1645/1646 and 1651, and subsequently in Italy until 1656. While in Florence, Van Aelst worked for the Medici family, specifically the brothers Cardinal Gian Carlo and Cardinal Leopoldo de’ Medici. Van Aelst created at least eleven paintings for them, as well as works for collectors in Bologna and Rome. Ferdinand II de’ Medici, the Grand Duke of Tuscany, supposedly gave Van Aelst a gold medal and gold chain for his service.<ref>Tanya Paul, “‘Beschildert met een glans’: Willem van Aelst and Artistic Self-Consciousness in Seventeenth-Century Dutch Still Life Painting,” PhD diss. (University of Virginia, 2008), 64–82.</ref> In 1656 Van Aelst returned to the north and, after a short period of time in Delft, moved to Amsterdam, where he remained for the rest of his life. At his death he left a wife and three children.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Willem van Aelst grew up in Delft, where his father served as one of the city’s notaries. He was a pupil of his uncle, Evert van Aelst (1602–1657), a still-life painter in Delft. Willem joined the town’s Saint Luke’s Guild on November 9, 1643. Little is known about his personal life, but we know that he lived in France between 1645/1646 and 1651, and subsequently in Italy until 1656. While in Florence, Van Aelst worked for the Medici family, specifically the brothers Cardinal Gian Carlo and Cardinal Leopoldo de’ Medici. Van Aelst created at least eleven paintings for them, as well as works for collectors in Bologna and Rome. Ferdinand II de’ Medici, the Grand Duke of Tuscany, supposedly gave Van Aelst a gold medal and gold chain for his service.<ref>Tanya Paul, “‘Beschildert met een glans’: Willem van Aelst and Artistic Self-Consciousness in Seventeenth-Century Dutch Still Life Painting,” PhD diss. (University of Virginia, 2008), 64–82.</ref> In 1656 Van Aelst returned to the north and, after a short period of time in Delft, moved to Amsterdam, where he remained for the rest of his life. At his death he left a wife and three children.</div></td></tr>
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<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>In 1672 Van Aelst was one of seven Dutch painters, including Otto van Schrieck (1619/1620–1678), who were asked to judge the merits of a collection of Italian paintings sold to the great elector of Brandenburg by the Amsterdam art dealer Gerrit Uylenburgh. They declared the paintings worthless.<del style="font-weight: bold; text-decoration: none;">[2] </del>The flower painter Rachel Ruysch (1664–1750) was a student of Van Aelst, and he influenced a number of other artists, including Ferguson, William Gowe, Elias van den Broeck (c. 1650–1708), and Simon Verelst (1644–1721).</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>In 1672 Van Aelst was one of seven Dutch painters, including Otto van Schrieck (1619/1620–1678), who were asked to judge the merits of a collection of Italian paintings sold to the great elector of Brandenburg by the Amsterdam art dealer Gerrit Uylenburgh. They declared the paintings worthless.<ins style="font-weight: bold; text-decoration: none;"><nowiki><ref>Abraham Bredius, </nowiki>''Catalogus van het Rijksmuseum van schilderijen'' (Amsterdam, 1886), 41–46.<nowiki></ref></nowiki> </ins>The flower painter Rachel Ruysch (1664–1750) was a student of Van Aelst, and he influenced a number of other artists, including Ferguson, William Gowe, Elias van den Broeck (c. 1650–1708), and Simon Verelst (1644–1721).</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Van Aelst specialized in still-life painting, but within this genre he was quite versatile, painting fruit and flower pieces, fish and forest-floor still lifes, and above all, hunting scenes with dead game and hunting gear. Van Aelst seems to have been particularly influential in the development of this last type of picture, which became very popular after midcentury, and his paintings were greatly praised and fetched high prices.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Van Aelst specialized in still-life painting, but within this genre he was quite versatile, painting fruit and flower pieces, fish and forest-floor still lifes, and above all, hunting scenes with dead game and hunting gear. Van Aelst seems to have been particularly influential in the development of this last type of picture, which became very popular after midcentury, and his paintings were greatly praised and fetched high prices.</div></td></tr>
</table>Bnixonhttps://artwiki.pnwwebdev.com/index.php?title=Willem_van_Aelst&diff=9&oldid=prevBnixon at 01:16, 5 September 20252025-09-05T01:16:24Z<p></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>== Biography ==</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>== Biography ==</div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Willem van Aelst grew up in Delft, where his father served as one of the city’s notaries. He was a pupil of his uncle, Evert van Aelst (1602–1657), a still-life painter in Delft. Willem joined the town’s Saint Luke’s Guild on November 9, 1643. Little is known about his personal life, but we know that he lived in France between 1645/1646 and 1651, and subsequently in Italy until 1656. While in Florence, Van Aelst worked for the Medici family, specifically the brothers Cardinal Gian Carlo and Cardinal Leopoldo de’ Medici. Van Aelst created at least eleven paintings for them, as well as works for collectors in Bologna and Rome. Ferdinand II de’ Medici, the Grand Duke of Tuscany, supposedly gave Van Aelst a gold medal and gold chain for his service.<ref>Tanya Paul, “‘Beschildert met een glans’: Willem van Aelst and Artistic Self-Consciousness in Seventeenth-Century Dutch Still Life Painting,” PhD diss. (University of Virginia, 2008), 64–82.</ref>In 1656 Van Aelst returned to the north and, after a short period of time in Delft, moved to Amsterdam, where he remained for the rest of his life. At his death he left a wife and three children.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Willem van Aelst grew up in Delft, where his father served as one of the city’s notaries. He was a pupil of his uncle, Evert van Aelst (1602–1657), a still-life painter in Delft. Willem joined the town’s Saint Luke’s Guild on November 9, 1643. Little is known about his personal life, but we know that he lived in France between 1645/1646 and 1651, and subsequently in Italy until 1656. While in Florence, Van Aelst worked for the Medici family, specifically the brothers Cardinal Gian Carlo and Cardinal Leopoldo de’ Medici. Van Aelst created at least eleven paintings for them, as well as works for collectors in Bologna and Rome. Ferdinand II de’ Medici, the Grand Duke of Tuscany, supposedly gave Van Aelst a gold medal and gold chain for his service.<ref>Tanya Paul, “‘Beschildert met een glans’: Willem van Aelst and Artistic Self-Consciousness in Seventeenth-Century Dutch Still Life Painting,” PhD diss. (University of Virginia, 2008), 64–82.</ref> In 1656 Van Aelst returned to the north and, after a short period of time in Delft, moved to Amsterdam, where he remained for the rest of his life. At his death he left a wife and three children.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In 1672 Van Aelst was one of seven Dutch painters, including Otto van Schrieck (1619/1620–1678), who were asked to judge the merits of a collection of Italian paintings sold to the great elector of Brandenburg by the Amsterdam art dealer Gerrit Uylenburgh. They declared the paintings worthless.[2] The flower painter Rachel Ruysch (1664–1750) was a student of Van Aelst, and he influenced a number of other artists, including Ferguson, William Gowe, Elias van den Broeck (c. 1650–1708), and Simon Verelst (1644–1721).</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In 1672 Van Aelst was one of seven Dutch painters, including Otto van Schrieck (1619/1620–1678), who were asked to judge the merits of a collection of Italian paintings sold to the great elector of Brandenburg by the Amsterdam art dealer Gerrit Uylenburgh. They declared the paintings worthless.[2] The flower painter Rachel Ruysch (1664–1750) was a student of Van Aelst, and he influenced a number of other artists, including Ferguson, William Gowe, Elias van den Broeck (c. 1650–1708), and Simon Verelst (1644–1721).</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Van Aelst specialized in still-life painting, but within this genre he was quite versatile, painting fruit and flower pieces, fish and forest-floor still lifes, and above all, hunting scenes with dead game and hunting gear. Van Aelst seems to have been particularly influential in the development of this last type of picture, which became very popular after midcentury, and his paintings were greatly praised and fetched high prices.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Van Aelst specialized in still-life painting, but within this genre he was quite versatile, painting fruit and flower pieces, fish and forest-floor still lifes, and above all, hunting scenes with dead game and hunting gear. Van Aelst seems to have been particularly influential in the development of this last type of picture, which became very popular after midcentury, and his paintings were greatly praised and fetched high prices.</div></td></tr>
</table>Bnixonhttps://artwiki.pnwwebdev.com/index.php?title=Willem_van_Aelst&diff=8&oldid=prevBnixon at 01:13, 5 September 20252025-09-05T01:13:29Z<p></p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 18:13, 4 September 2025</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>== Biography ==</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>== Biography ==</div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Willem van Aelst grew up in Delft, where his father served as one of the city’s notaries. He was a pupil of his uncle, Evert van Aelst (1602–1657), a still-life painter in Delft. Willem joined the town’s Saint Luke’s Guild on November 9, 1643. Little is known about his personal life, but we know that he lived in France between 1645/1646 and 1651, and subsequently in Italy until 1656. While in Florence, Van Aelst worked for the Medici family, specifically the brothers Cardinal Gian Carlo and Cardinal Leopoldo de’ Medici. Van Aelst created at least eleven paintings for them, as well as works for collectors in Bologna and Rome. Ferdinand II de’ Medici, the Grand Duke of Tuscany, supposedly gave Van Aelst a gold medal and gold chain for his service. In 1656 Van Aelst returned to the north and, after a short period of time in Delft, moved to Amsterdam, where he remained for the rest of his life. At his death he left a wife and three children.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Willem van Aelst grew up in Delft, where his father served as one of the city’s notaries. He was a pupil of his uncle, Evert van Aelst (1602–1657), a still-life painter in Delft. Willem joined the town’s Saint Luke’s Guild on November 9, 1643. Little is known about his personal life, but we know that he lived in France between 1645/1646 and 1651, and subsequently in Italy until 1656. While in Florence, Van Aelst worked for the Medici family, specifically the brothers Cardinal Gian Carlo and Cardinal Leopoldo de’ Medici. Van Aelst created at least eleven paintings for them, as well as works for collectors in Bologna and Rome. Ferdinand II de’ Medici, the Grand Duke of Tuscany, supposedly gave Van Aelst a gold medal and gold chain for his service.<ins style="font-weight: bold; text-decoration: none;"><ref>Tanya Paul, “‘Beschildert met een glans’: Willem van Aelst and Artistic Self-Consciousness in Seventeenth-Century Dutch Still Life Painting,” PhD diss. (University of Virginia, 2008), 64–82.</ref></ins>In 1656 Van Aelst returned to the north and, after a short period of time in Delft, moved to Amsterdam, where he remained for the rest of his life. At his death he left a wife and three children.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In 1672 Van Aelst was one of seven Dutch painters, including Otto van Schrieck (1619/1620–1678), who were asked to judge the merits of a collection of Italian paintings sold to the great elector of Brandenburg by the Amsterdam art dealer Gerrit Uylenburgh. They declared the paintings worthless.[2] The flower painter Rachel Ruysch (1664–1750) was a student of Van Aelst, and he influenced a number of other artists, including Ferguson, William Gowe, Elias van den Broeck (c. 1650–1708), and Simon Verelst (1644–1721).</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In 1672 Van Aelst was one of seven Dutch painters, including Otto van Schrieck (1619/1620–1678), who were asked to judge the merits of a collection of Italian paintings sold to the great elector of Brandenburg by the Amsterdam art dealer Gerrit Uylenburgh. They declared the paintings worthless.[2] The flower painter Rachel Ruysch (1664–1750) was a student of Van Aelst, and he influenced a number of other artists, including Ferguson, William Gowe, Elias van den Broeck (c. 1650–1708), and Simon Verelst (1644–1721).</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Van Aelst specialized in still-life painting, but within this genre he was quite versatile, painting fruit and flower pieces, fish and forest-floor still lifes, and above all, hunting scenes with dead game and hunting gear. Van Aelst seems to have been particularly influential in the development of this last type of picture, which became very popular after midcentury, and his paintings were greatly praised and fetched high prices.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Van Aelst specialized in still-life painting, but within this genre he was quite versatile, painting fruit and flower pieces, fish and forest-floor still lifes, and above all, hunting scenes with dead game and hunting gear. Van Aelst seems to have been particularly influential in the development of this last type of picture, which became very popular after midcentury, and his paintings were greatly praised and fetched high prices.</div></td></tr>
</table>Bnixonhttps://artwiki.pnwwebdev.com/index.php?title=Willem_van_Aelst&diff=7&oldid=prevBnixon: added biography2025-09-05T01:12:15Z<p>added biography</p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 18:12, 4 September 2025</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''Willem van Aelst''' (16 May 1627 – buried 22 May 1683) was a [[Dutch Golden Age]] artist who specialized in still-life painting with flowers or game.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''Willem van Aelst''' (16 May 1627 – buried 22 May 1683) was a [[Dutch Golden Age]] artist who specialized in still-life painting with flowers or game.</div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">== Biography ==</ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">Willem van Aelst grew up in Delft, where his father served as one of the city’s notaries. He was a pupil of his uncle, Evert van Aelst (1602–1657), a still-life painter in Delft. Willem joined the town’s Saint Luke’s Guild on November 9, 1643. Little is known about his personal life, but we know that he lived in France between 1645/1646 and 1651, and subsequently in Italy until 1656. While in Florence, Van Aelst worked for the Medici family, specifically the brothers Cardinal Gian Carlo and Cardinal Leopoldo de’ Medici. Van Aelst created at least eleven paintings for them, as well as works for collectors in Bologna and Rome. Ferdinand II de’ Medici, the Grand Duke of Tuscany, supposedly gave Van Aelst a gold medal and gold chain for his service. In 1656 Van Aelst returned to the north and, after a short period of time in Delft, moved to Amsterdam, where he remained for the rest of his life. At his death he left a wife and three children.</ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">In 1672 Van Aelst was one of seven Dutch painters, including Otto van Schrieck (1619/1620–1678), who were asked to judge the merits of a collection of Italian paintings sold to the great elector of Brandenburg by the Amsterdam art dealer Gerrit Uylenburgh. They declared the paintings worthless.[2] The flower painter Rachel Ruysch (1664–1750) was a student of Van Aelst, and he influenced a number of other artists, including Ferguson, William Gowe, Elias van den Broeck (c. 1650–1708), and Simon Verelst (1644–1721).</ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">Van Aelst specialized in still-life painting, but within this genre he was quite versatile, painting fruit and flower pieces, fish and forest-floor still lifes, and above all, hunting scenes with dead game and hunting gear. Van Aelst seems to have been particularly influential in the development of this last type of picture, which became very popular after midcentury, and his paintings were greatly praised and fetched high prices.</ins></div></td></tr>
</table>Bnixon