Maria van oosterwyck biography of william

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CODART, Dutch and Flemish art in museums worldwide

The Joslyn Art Museum announced the purchase of a seventeenth-century canvas, Still Life of Flowers in a Glass Vase (about 1685), by Dutch artist Maria van Oosterwyck (1630–1693). One of the few female painters active in Holland in the 1600s, Van Oosterwyck was a master of the floral still life. She enjoyed great success in her lifetime and counted King Louis XIV of France and King William III of England among her  patrons. Her elegant floral arrangements set against dark backgrounds were especially admired for their diversity of flora, a characteristic exemplified in Joslyn’s painting.

Maria van Oosterwyck (1630–1693), Still Life of Flowers in a Glass Vase, ca. 1685
Joslyn Art Museum, Omaha

Taylor J. Acosta, Ph.D., Joslyn’s associate curator of European art noted, “Of the known works by Van Oosterwyck, this painting is one of the most significant in terms of quality and scale. The meticulous attention to detail and the great variety of blooms, as well as the inclusion of insects and shells, make this an excellent example of the genre.” The first floral still life to enter Joslyn’s collection, Still Life of Flowers in a Glass Vase represents an important step in diversifying the Museum’s collections. “Joslyn is acti

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Oosterwyck, Maria van (1630–1693)

Dutch painter of flower pieces and still lifes. Name variations: Oosterwijk. Born on August 20, 1630, in Nootdorp, near Delft, Holland, the Netherlands; died in December 1693, near Uitdam; never married; no children.

Although there are only two dozen extant works credited to the Dutch flower painter Maria van Oosterwyck, it is quite possible that some of her work has been attributed to Jan Davidsz de Heem (1606–1683), who may have been an early teacher, and to Willem van Aelst (1625–c. 1683), who for years sought her hand in marriage. According to Arnold Houbraken, Oosterwyck worked slowly, which would also account for such a limited output.

Writing in 1718, Houbraken also provides what little biographical information is available on the artist: the daughter of a Dutch Protestant minister, she displayed an artistic gift early in life and was sent by her father to study with de Heem. Modern scholars question this assumption, as de Heem lived most of his life in Antwerp and only returned to Utrecht, his birthplace, briefly from 1669 to 1672, by which time Oosterwyck was well into her career. Germaine Greer , in The Obstacle Race, claims that Oosterwyck simply went to Antwerp to study with de Heem, which may indeed have been the case.