Still Life with Peacocks (c. 1639) by Rembrandt van Rijn
Artwork Name
Still Life with Peacocks (c. 1639)
Artist
Rembrandt van Rijn (1606–1669), Dutch
Dimensions
Oil on panel
Collection Source
Rijksmuseum
License
Public Domain Content: Free for Personal & Commercial Use
4556 x 4768 pixels, JPEG, 12.29 MB
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About the Artist
Rembrandt van Rijn (1606–1669), Dutch, Emerging from the Dutch Golden Age, this master of light and shadow transformed paint into profound human drama. His work—unflinching in its psychological depth—captured the raw humanity of his subjects, whether biblical figures, wealthy patrons, or his own aging face. Unlike contemporaries who idealized their sitters, he reveled in texture: the crumpled lace of a collar, the gnarled hands of an old woman, the play of candlelight on gold brocade. Tragedy and ambition shaped his career. After early success in Amsterdam, where his dynamic group portraits like *The Night Watch* broke conventions, financial mismanagement and personal loss (the deaths of his wife and three children) left him bankrupt. Yet his late period, often dismissed by patrons as "rough," produced some of his most moving works—self-portraits where brushstrokes dissolve into introspection, the eyes holding centuries of sorrow and wit. Rembrandt’s legacy lies in his refusal to flatter. He painted Bathsheba’s vulnerability, Samson’s betrayal, and his own jowls with equal honesty. Theatrical chiaroscuro—learned from Caravaggio—became in his hands a tool not for spectacle, but for revelation. By the time he died in obscurity, he’d redefined art itself: no longer just skill, but a mirror held up to the soul.
Artwork Story
Rembrandt’s *Still Life with Peacocks* is a striking departure from his usual portraits and biblical scenes, capturing an opulent yet unsettling tableau. The painting overflows with textures—glossy feathers, rough wood, and the soft curve of fruit—all bathed in his signature chiaroscuro. Two peacocks, one lifeless and the other perched watchfully, create a tension between abundance and mortality. A half-peeled lemon spills onto the table, its vibrant yellow a jolt against the dark background, as if mocking the birds’ faded grandeur. The work feels less like a celebration of wealth and more like a whispered meditation on decay.
Dated around 1639, the piece reflects Rembrandt’s fascination with contrasts: light and shadow, life and death, extravagance and transience. The peacocks, symbols of vanity in Dutch still-life traditions, are rendered with almost grotesque detail—their feathers splayed like a discarded gown. Some speculate the painting was a private experiment, never meant for sale, given its unusual subject for the artist. The composition’s asymmetry and the knife precariously balanced on the table edge add an uneasy energy, as if the scene might unravel at any moment.