Vase of Flowers in a Niche 1746 - 1793

Curator: Let's consider this work by Michel Bruno Bellengé, an oil painting entitled "Vase of Flowers in a Niche." The Met dates it to between 1746 and 1793. It certainly has some classical leanings with that niche. What's your immediate take? Editor: Airy! Almost confectionary in its lightness, like a porcelain bonbonnière filled with sugared violets. That lovely, almost Wedgwood blue vase. It just makes me happy to look at it. Curator: Wedgwood! Exactly. Note how Bellengé uses oil paint to mimic the popular decorative arts of the era. He presents the still life within the artifice of a shallow architectural space. Observe how the vase, which is already itself a craft object of utility and beauty, sits within a further constructed pictorial space. Editor: The flowers are almost tumbling out, reaching past the edge of the painted niche like they’re straining to break free of the canvas. Curator: Indeed. And while ostensibly it is a still life, the trompe l’oeil element definitely adds something of a commentary on how painted and physical space interact and intersect. Consider also how the materiality of the stone wall behind lends an air of permanence, against the ephemerality of cut blooms. The labor that goes into both creating luxury ceramicware, arranging a floral still life, and depicting it is a powerful commentary on value and transience. Editor: There’s a delicate dance between the permanence of the scene and the implied decay of the blooms, as you said. All those vibrant colours. I see little whispers of melancholy woven within that beautiful surface. Curator: A point well taken. Editor: Looking at it again I am intrigued by the gold detailing of the vase. This work really encapsulates so many details of court life, luxury, and decor. Curator: Yes, I believe this analysis, although not exhaustive, has served as a helpful introduction to this painting's multiple facets. Editor: I heartily agree! A delightful diversion.