Still life emerged as an independent genera particularly during the early 1600s Dutch and Northern European paintings. Many of the objects depicted in these early works are symbolic of religion and morality reflecting on the increasing urbanization of Dutch and Flemish society, which brought with it an emphasis on the home and personal possessions, commerce and trade.
Paintings depicting burnt candles, human skulls, dying flowers, fruits and vegetables, broken chalices, jewelry, crowns, watches, mirrors, bottles, glasses, vases etc are symbolic of the transience and brevity of human life, power, beauty and wealth, as well as of the insignificance of all material things and achievements.

Origins and Definition of Still Life
As a result of this trade with far-flung places and the introduction of exotica, Dutch artists of the 17th Century became renowned for being greatly concerned with what Kahr refers to as a: ‘close scrutiny of the natural world.’[1] This, combined with their preoccupation with perspective and the study of light, provided the basic elements of Still Life painting. The term had come into general usage in mid-century, Still Life being the carefully composed portrayal of inanimate objects. Living creatures were in fact allowable as long as they were incidental to the main theme. Specialization was a notable feature of Dutch 17th century art; consequently, Still Life – itself a particular aspect of art – further diversified into different categories.

The Distinct Categories.
The earliest examples, from the beginning of the 1600s and later influenced by ‘tulip-mania’, were the popular floral paintings; these were followed by flowers with fruit, then the humble ‘breakfast pieces’. As the century progressed, and wealth became widespread, so the ‘breakfast’ developed into the ‘banquet piece’. Perhaps influenced by deep-rooted Calvinism centred on Leiden University, the Dutch psyche remained a moralising one and the concern with the transience of life was the motif of the numerous ‘Vanitas‘ paintings and an element in other genres. Another important facet of Still Life, Trompe L’Oeil – French for ‘deceive the eye’ – evolved in mid-century from the game piece, its illusionism appealing to the Dutch penchant for humour. Finally, at the latter part of the century, taste changed, colour and form became more baroque and pronk still life- the art of the ostentatious – was born.

Socio Economic Background
The creation of the Dutch Republic gave rise to a great pride in national identity and with it came a delight in the new art that was uniquely Dutch. As the economy flourished, and trade with the Indies and South America expanded, so did the fashion for collecting, the popularity of painting in general, and Still Life –Stilleven -in particular. Watchful Calvinist ecclesiastics, dwindling royalty and powerful Burghers changed the face of patronage. With the emergence of the aspirational, property-owning bourgeoisie, a whole new market opened up.