The Prado Museum presents, in Room D until February 19, his first exhibition dedicated to one of the European painters of the Modern Age
Clara Peeters (fl. 1607-1621) was a still-life painter who came from Antwerp and trained in the tradition of Flemish Baroque painting, but probably made her career mostly in the new Dutch Republic, as part of Dutch Golden Age painting. Many aspects of her life and work remain very unclear, especially outside the period 1607 to 1621 from which period dated paintings are known. As Seymour Slive puts it “Not a single uncontested document has surfaced about her life but there is reason to believe she was active in both Flanders and Holland.”
She was unusual for her time in being a female painter, and is the earliest significant woman painter of the Dutch Golden Age; if regarded as a Flemish painter, she was the most famous Flemish woman of the 17th century.
The act of painting still lifes was his particular way of coping with the limitations supposed not to paint, usually male, nude models to women, at that time, they had no access
Unlike Maria van Oosterwyck and Rachel Ruysch, who specialized in flower painting, Peeters painted mostly subjects including food, and was prominent among the artists who shaped the traditions of the Dutch ontbijtjes, “breakfast pieces” with plain food and simple vessels, and banketje, “banquet pieces” with expensive cups and vessels in precious metals. More than any other artist, her works often include careful depictions of different types of cheese. From Wikipedia
Rubens, Van Dyck and Jan Brueghel the Elder are just three of the Flemish painters anyone knows and also contemporaries Clara Peeters. Among pheasants and cheeses, artichokes and crabs, fish and sweet, this woman he barely known data beyond that he developed its production in Antwerp, wanted to assert himself as a painter in the early seventeenth century. He did, for example, in a luxurious golden cup (below). So tiny and detailed his face looks at us making clear its presence. With a headdress and gown high shoulders or with brushes and a palette, but fixing his gaze on the viewer, Clara Peeters reaffirmed its status as a woman painter with his own name and face through at least eight self-portraits that blend almost imperceptibly in his still lifes.