New exhibition at the Hepworth Wakefield explores the genre of still life

“I started at the Hepworth last October and really wanted to look at our collections especially as we are celebrating a hundred years of collecting in Wakefield over this year,” says curator Marie-Charlotte Carrier. “Still life tends to be a bit disregarded or thought of as less interesting or important in the history of art and it was an opportunity to show some works that haven’t been displayed for a while. We have some stunning paintings from the 17th century as well as contemporary works and I was looking at ways that we could link these together so that we could show them.”

Three of the oldest works in the Wakefield collection by renowned Dutch masters – Jacob Foppens van Es, Willem Ormea and Nicolaes van Verendael – feature in the exhibition alongside, and in dialogue with, more modern pieces. Van Verendael’s Still Life with a Lobster 1678 is the earliest work on display illustrating the emergence of still life painting in the Netherlands. The detailed studies of fruit and flowers from earlier centuries give way to the abstraction introduced into the genre by 20th century artists such as Roger Fry, Frances Hodgkins, Ivan Hitches and Anne Estelle Rice.

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“We wanted the exhibition to be as accessible to the widest audience as possible so when we were selecting works, we were looking at still life in its broadest sense,” says Carrier. “We wanted to include ideas around changes, ageing and the fragility of life. Sill life is about calmness and quietness but it’s also about thinking about the ordinary objects that surround us in our daily lives. Some of the contemporary artists are often working with the ideas of daily objects almost in a playful way.”

The concept of silence and tranquility is explored in some of the works, looking beyond specific objects to a more general appreciation of the domestic space, demonstrating how the home can become a haven, a place of warmth, peace and safety. Among the artists whose work depicts these intimate settings are Vanessa Bell, Walter Sickert, Patrick Heron and Mabel Layng. “There is a section of the exhibition which is entitled Quiet Life where we have placed a few artworks that are images of interiors,” says Carrier. “And there are several works featuring figures sitting with a book in a domestic space or in a moment of introspection.”

Also in this part of the show, which is divided into four sections, are several recently acquired works including a large-scale oil painting Noor, 3.30pm, Leyton 2017 by Caroline Walker depicting a young woman refugee in temporary accommodation in Leyton as well as three photographs from Rene Matic’s a girl for the living room, 2023 series. The exhibition is presented thematically rather than chronologically. “I was keen to show the formal similarities between works,” says Carrier. “I was really interested in the way the artworks can have a beautiful dialogue in terms of shapes, colours and forms. I hope that visitors will be able to see those connections.”

Still life continues to intrigue, engage and inspire artists. As a genre it has evolved in an exciting way, somehow adapting to each new era and style, as artists respond to the concerns and issues of our times. “I think since the pandemic it has acquired a renewed relevance,” says Carrier. “I think we have a new-found relationship with our homes and domestic space and an interest in the ordinary and the domestic.”

Overall, the exhibition is an invitation to reflect. “A major theme is this idea of paying close attention to what is around you,” says Carrier. “I hope visitors can experience a similar level of engagement that the artists had when making the works. It is an exhibition about taking time to look at things, but it is also playful. We felt it was important to have that dynamic element too, so it is not just contemplative but also thrilling and exciting.”

At The Hepworth Wakefield until January 2025.