Wineglass and a Bowl of Fruit
1663
Illustrative frame preview.
Cleveland Museum of ArtOriginal work, c. 1734
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Jean-Siméon Chardin — Kitchen Utensils with Leeks, Fish, and Eggs Print
Pots, leeks, fish and eggs form Chardin's muted kitchen still life. Brown passages and darker vessels give the everyday objects a quiet, closely observed presence.
- Artist
- Jean-Siméon Chardin
- Date
- c. 1734
- Original medium
- oil on canvas
- Museum
- Cleveland Museum of Art
- Museum credit
- Leonard C. Hanna Jr. Fund
View the museum record. Archive image: CC0.
£39.00
From museum archives. No recolouring, retouching or AI enhancement.
UK delivery. Unframed £4.99, free from £50. Wood-frame delivery included.
Paper, size & framing
Fine-art print on 200 gsm enhanced matte paper. Measurements are the paper dimensions, including the white border. Framing adds to the overall dimensions. The artwork keeps its approved composition within those margins. White, natural and dark wood frames are ready to hang with plexiglass.
Our print guideAbout the artwork
Pots, leeks, fish and eggs form Chardin's muted kitchen still life. Brown passages and darker vessels give the everyday objects a quiet, closely observed presence.
- Artist
- Jean-Siméon Chardin
- Date
- c. 1734
- Original medium
- oil on canvas
- Museum
- Cleveland Museum of Art
- Museum credit
- Leonard C. Hanna Jr. Fund
View the museum record. Archive image: CC0.
- Artist
- Jean-Siméon Chardin
- Artwork
- Jean-Siméon Chardin — Kitchen Utensils with Leeks, Fish, and Eggs Print
- Date of work
- c. 1734
- Museum collection
- Cleveland Museum of Art
About Jean-Siméon Chardin
French · 1699–1779
Jean-Siméon Chardin was born in Paris, the son of a craftsman. He trained in painters’ studios and was admitted to the Royal Academy in 1728 as a painter of animals and fruit. His art found distinction in subjects often considered modest: still lifes and domestic scenes became opportunities for exceptionally attentive painting rather than displays of grand historical drama.
Chardin’s carefully constructed pictures describe both the appearance and the feel of objects. Dutch domestic painting offered an important example. His figure scenes explore work, education and family life, while his still lifes organise familiar materials into harmonious relationships. Critics admired the way his handling could make paint seem to hold the very substance of the things depicted.
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