171 - Jean-François DE LA MOTTE (1635–1685)

Jean-François DE LA MOTTE (1635–1685) Still Life with a Palette and Brushes This trompe-l’œil depicts a rough wooden wall to which various miscellaneous objects are attached, characteristic of allegories of the arts and vanity. In the center, a partially detached and folded canvas reveals a dark niche containing a skull, a candlestick, and what appears to be an hourglass—classic symbols of the fleeting nature of time and death (memento mori). The world of painting is ever-present: a palette laden with pigments and its brushes rest in the lower left corner, while a hand rest runs diagonally across the work, guiding the eye toward a bundle of tied brushes, a vial, and a miniature medallion portrait in the lower right. On the left edge, a small landscape print is meticulously pinned beneath a leather case containing a quill. Every element—from the folded note bearing a handwritten inscription to the nails securing the objects—is rendered with striking illusionistic precision, using cast shadows to highlight the three-dimensionality At the bottom of the composition, a slip of paper bears the inscription “To Madame Marie Forgeot, née Tardy, in Troyes,” the likely patron of the painting Oil on canvas, trace of a signature in the lower left corner of the faux canvas H. 115 cm - W. 87 cm 19th-century re-stretching Restoration Note: Jean-François de La Motte (c. 1625–1685) was a painter active in Tournai, recognized as one of the undisputed masters of trompe-l’œil in the 17th century, working at the crossroads of Flemish and French influences. His work is distinguished by his “quodlibets”—virtuoso compositions depicting wooden panels or torn canvases on which everyday objects, documents, or artists’ tools are piled up. La Motte very often incorporates the motif of vanity into these works, creating a philosophical contrast between the ephemeral nature of earthly life and the enduring nature of artistic creation. His genius lies in his absolute mastery of perspective, the tactile rendering of textures (veined wood, yellowed paper, worn leather), and lighting, generating optical illusions designed to captivate and deceive the viewer. Although his body of identified works remains relatively limited today, his paintings reflect a profound intellectual exploration of pictorial illusion, the status of the painter, and the materiality of art during the Baroque era.