During a routine exploration of an Oslo museum’s storage in 2022, art historian and curator Cynthia Osiecki stumbled upon an unidentified still-life painting that sparked her curiosity. Osiecki, who had been researching Clara Peeters, a renowned 17th-century Flemish Baroque artist, suspected the painting might be a lost work by Peeters.
Osiecki expressed her astonishment at the possibility of having a Clara Peeters painting hidden in storage while actively seeking to acquire women artists for the museum’s collection. The discovery sheds light on Peeters’ legacy, as she, like many female artists of her time, remains underrecognized by the public.
The National Museum of Norway aims to highlight the contributions of historic female artists through the upcoming exhibition, “Woman Painter,” featuring works by prominent artists such as Judith Leyster, Lavinia Fontana, Artemisia Gentileschi, and Clara Peeters.
Unveiling the True Artist Behind the Painting
The painting, titled “Still Life with Small Game and Grapes on a Gilded Tazza,” was initially attributed to Ambrosius Brueghel before being reclassified as anonymous and stored away. Osiecki embarked on a meticulous journey over several years to reattribute the painting to Clara Peeters based on distinctive characteristics in her works.
Peeters, known for her innovative still-life compositions, often embedded subtle self-portraits within her paintings, asserting her identity in a male-dominated art world. The Oslo painting showcases dead birds, hazelnuts, apricots, and grapes, which played a crucial role in identifying Peeters’ style.
Despite challenges like the absence of Peeters’ signature due to woodworm damage, Osiecki’s thorough analysis, along with collaboration with museum conservators, confirmed Peeters as the true artist. The painting is now set to be showcased prominently in the upcoming exhibition.
Nora Ceciliedatter, director of collections and exhibitions at the National Museum of Norway, emphasized the importance of exhibitions like “Woman Painter” in bringing visibility to historically underrepresented female artists.
Osiecki’s dedication to unveiling Peeters’ work highlights the ongoing need to recognize and celebrate female artists whose contributions have been overlooked or misattributed. The journey to rediscover these artists is deemed essential in acknowledging their significant artistic legacies.
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