In a surprising find at an Oslo museum’s storage, art historian Cynthia Osiecki uncovered an unidentified still-life painting in 2022 that she suspected might be by Clara Peeters, a pioneering artist from the 17th-century Flemish Baroque era. Osiecki, who had been researching Peeters’ work, expressed astonishment at the possibility of having a Peeters painting in their possession without even realizing it.
Despite Peeters’ significant contributions, she remains relatively obscure to the general public, much like many other female artists of her time, according to Osiecki. To shed light on historic female artists, the National Museum of Norway is preparing to showcase works by 19 women artists, including Peeters, at the upcoming “Woman Painter” exhibition opening in Oslo on Oct. 8.
The painting Osiecki identified, titled “Still Life with Small Game and Grapes on a Gilded Tazza,” was initially believed to be by Ambrosius Brueghel before being classified as anonymous and stored away. Through meticulous analysis spanning several years, Osiecki succeeded in reattributing the piece to Peeters, a process that began with her keen observation skills.
Peeters was known for incorporating subtle self-portraits into her works, asserting her professional identity in a male-dominated art world. The Oslo painting features dead birds, hazelnuts, apricots, and notable details such as grapes, a signature element in Peeters’ paintings, and the unique positioning of the birds within the composition.
Despite challenges like woodworm damage obscuring Peeters’ signature, Osiecki and her team persisted in their research by studying Peeters’ other works and those of her contemporaries. Through this thorough examination, the painting’s attribution to Peeters was confirmed, leading to its prominent display at the upcoming exhibition.
Nora Ceciliedatter, director of collections and exhibitions at the National Museum of Norway, highlighted the importance of the “Woman Painter” exhibition in showcasing historically underrepresented artists. Osiecki emphasized the ongoing need to uncover and recognize female artists whose contributions have been overlooked or misattributed, emphasizing the value of dedicated research in this endeavor.