Inanimate objects are represented in painting since the Middle Ages, general fund religious paintings as realist. But it is only in the mid-sixteenth century that still life emerged as an independent artistic genre in the works of painters such as Pieter Aertsen (1507 or 1508 to 1575) and Jacopo Bassano (ca.1510 - 1592), which articulate the religious themes to life daily and genre scenes. The symbolic and grotesque compositions of Giuseppe Arcimboldo (ca.1527 - 1593) - with fruits, animals and objects composing pictures - feed into the development of still life in the period. In moving to the seventeenth century, the figuration document required by the natural sciences play a prominent role in the recovery of an art that aims to represent the objects and nature such as empirically observed - for example, Jacopo Ligozzi (1547-1627). Thus, the process of gradual autonomy of still life painting tracks both naturalistic (associated with scientific illustration) and genre painting, exemplarily represented by the Dutch artists of the seventeenth century and its domestic issues, figured in great detail. Objects frequently chosen to compose still lifes are tables with food and drinks, tableware, flowers, fruits, musical instruments, books, tools, pipe, tobacco, etc., all referred to the private and domestic sphere, the vocations and to hobbies, decoration and living inside the house.
Devaluation of this pictorial genre is reflected in his own name in Romance languages, "still life", "Still Life", and in the Saxon language, "still life", "Stilleben" (still life life in suspension). Caravaggio (1571 - 1610) is one of the pioneers in the genre, exercised between 1592 and 1599 (detail of Bacchus, 1593, Basket of Fruit, 1596). The choice of "natural painting of natural things" (highlighting the presence of the body and the reality revealed by detailed object of the contrasts of light and shadow), the choice of popular brands to compose religious scenarios and taste for genre scenes mark the works of the Milanese painter, one of the first to challenge the hierarchy imposed by the theorists of the era that saw the still life as a minor matter. "It costs me so much work to make a good picture of flowers as a table of figures," he says. In Spain, Juan Sánchez Cotán (1560 - 1627) renews the genre, drawing upon the opening of windows to frame the objects (Still Life with Quince, Cabbage, Melon and Cucumber, 1600). In the south, the theme is adopted by Zubaran Francis (1598 - 1664), which develops a naturalistic religious work, producing a parallel series of still lifes and genre scenes. In Madrid, Juan van der Hamen y León (1596 - 1631) gives new dimensions to this type of painting, arranging the objects in different levels and reducing the number of scene elements (Still Life with Fruit and Silverware, 1626).
Jean-Siméon Chardin (1699 - 1779) is the great French painter of still lifes and works of the genre. In the famous Stingray (1728) to show their preferences of composition: a shelf of stone and the austere interior ambience, the objects arranged in a practical (suggesting human activity), the textures of linen and ceramics, the cat among the oysters and bloody stingray in the center of the frame. Chardin small screens - with kitchen items and their users, environments domestic and everyday scenes - affiliate themselves to the tradition of Dutch painting cabinet. In the nineteenth century, the Impressionists, though accustomed to outdoor landscapes, still lifes are going to hold, but with Paul Cézanne (1839-1906) that the genre takes on new dimensions, immortalized by the compositions performed with apples since 1870. Unlike de Chardin, whose work allude to the preparation of food in the kitchen and the tools of the artist, the works of Cezanne objects appear disconnected from their use. "Suspended between nature and usefulness, [apples of Cezanne] exist only to be contemplated", the historian U.S. Meyer Schapiro.
arrangements of disparate objects in different compositions and collages by Juan Gris (1887-1927), Pablo Picasso (1881-1973) and Georges Braque (1882-1963) still life associate directly to Cubism, although the gender across all modern art, as indicated by the works of Vincent van Gogh (1853 - 1890), Fernand Léger (1881 - 1955), Henri Matisse (1869-1954), Chaim Soutine (1893 - 1943), Pierre Bonnard (1867 - 1947), among others. Giorgio Morandi (1890 - 1964) is the most modern painters which focuses on still lifes. Its objects - bottles, candlesticks, jars - compounds based on subtle color combinations, are emptied literary and symbolic content, which gives these works a highly personal diction.
In the history of Brazilian art compositions with fruits and vegetation of Albert Eckhout (ca.1610-ca.1666) are among the first still lifes made. You can follow the genre during the nineteenth century, with the productions of Agostinho da Motta (1824-1878) and Stephen Smith (ca.1844-1891), significant painters in the context of Rio. In São Paulo, in the first half of the twentieth century, there is a production of Peter of Alexandria (1856-1942). With the artists gathered at the Center Bernardelli e Grupo Santa Helena, nas decades of 1930 and 1940, or gender ganhar importância na nova Brazilian art. We years of 1950, Milton Dacosta (1915 - 1988), Maria Leonie (1917 - 1984), Iberê Camargo (1914 - 1994), among outros, realizam natureza-morta.
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