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Still Life painting thematizes the ability of Nature and Art to produce similarities and is therefore predestined for a theorization of mimetic strcutures of Art in general. 17th-Century Netherlandish Still Life painting actively participated in the intellectual discourse of natural philosophy and the natural sciences, even though art history until recently described it, somewhat simplifying, as realistic-representative painting. We urgently need a rehabilitation of the notion of Mimesis. The author restarts the discussion, by putting more emphasis on the historical notions of Nature and Image. She examines how mimetic structures acquired a biotic reproductive capacity in the 17th century. Still Life painting thematizes the ability of Nature and Art to produce similarities and is therefore predestined for a theorization of mimetic structures of Art in general.

Painting --- easel paintings [paintings by form] --- flower pieces --- still lifes --- anno 1600-1699 --- 75.035 --- 75.035 Neostijlen. Herleving van oude stijlen in de 19e eeuw. Historicisme in de schilderkunst --- Neostijlen. Herleving van oude stijlen in de 19e eeuw. Historicisme in de schilderkunst --- Still-life in art. --- Still-life painting, Dutch --- Nature in art --- History --- Painting - 17th century --- Iconography, Symbolism & representation in art and architecture --- Theory of Art --- Baroque & Rococo painting

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color [perceived attribute] --- botanical gardens --- Serpentes [suborder] --- Insecta [class] --- sottobosco --- mushrooms [fungi] --- Medusakop --- Marseus van Schrieck, Otto

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paintings [visual works] --- landscapes [representations] --- Joris en de draak --- Rubens, Peter Paul --- George [s.]

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vanitas [still lifes] --- Jerome