4 - BALTHASAR HUYS (Mechelen, Belgium, 1590 – Rotterdam, Netherlands, 1652).

BALTHASAR HUYS (Mechelen, Belgium, 1590 – Rotterdam, Netherlands, 1652). “Still Life,” 1645. Oil on canvas. Relined. Work published in J. de Maere and M. Wabbes, “Illustrated Dictionary of 17th-Century Flemish Painters” (Brussels: La Renaissance du Livre, 1993), p. 635. It features a modern stretcher frame and a 19th-century frame. Signed and dated. Measurements: 104.5 x 148.5 cm; 137 x 181 cm (frame). The integration of a genre scene with a richly detailed still life is the main attraction of this monumental composition by Balthasar Huys, dated 1645. The work combines a focus on the meticulous depiction of food with a scene featuring a cook holding a long roasting spit with a bird impaled on it. This combination of figures and still life, characteristic of the Flemish tradition, allows the artist to develop a composition of great narrative breadth and remarkable visual richness. In the foreground lies an abundant selection of food, arranged in an open and asymmetrical manner, with a dynamic composition that draws the viewer’s gaze toward the female figure situated in the middle ground. The cook, depicted in three-quarter profile and looking directly at the viewer, establishes a connection with the viewer, reinforcing the theatrical nature of the scene. Of particular interest is the spatial arrangement of the background. While the left side is shrouded in semi-darkness, drawing attention to the food and the figure, the right side opens onto a second room with classical architecture. Through its arches, a Flemish-style urban landscape is revealed, set against a sky of bluish and greenish hues. The painting is part of a compositional tradition developed in Flanders since the 16th century by Pieter Aertsen and Joachim Beuckelaer, who established a model in which food and large-scale figures shared the spotlight. Their scenes of markets, kitchens, and food stalls set a fundamental precedent for the development of the Baroque still life with figures. During the 17th century, this formula evolved into more dynamic and theatrical compositions, as demonstrated by this work, in which the treatment of the food, the human figure, and the architecture reflects a fully Baroque conception.The date 1645, along with the artist’s signature and its inclusion in the specialized catalog by De Maere and Wabbes, lends the painting special documentary significance. A Flemish painter specializing in still lifes and genre scenes, Huys trained under Jean-Baptiste Saive and was active from the early decades of the 17th century through 1652. Rooted in the tradition of Flemish still life, he created compositions in which food and everyday objects are integrated into scenes featuring human figures, following in the tradition of Pieter Aertsen and Joachim Beuckelaer. His work reflects the evolution of the narrative still life toward forms characterized by greater dynamism and spatial complexity—hallmarks of the Baroque period. His work is represented in the SØR Rusche Collection in Germany, among other European collections. Work published in J. de Maere and M. Wabbes, “Illustrated Dictionary of 17th-Century Flemish Painters” (Brussels: La Renaissance du Livre, 1993), p. 635.