{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://api.smk.dk/api/v1/iiif/manifest?id=KMSsp392","type":"Manifest","label":{"da":["Stilleben med en Rømer"]},"rights":"https://creativecommons.org/publicdomain/mark/1.0/","requiredStatement":{"label":{"en":["Attribution"],"da":["Kreditering"]},"value":{"en":["Shared by SMK – the national gallery of Denmark"],"da":["SMK – Statens Museum for Kunst"]}},"provider":[{"id":"https://www.smk.dk","type":"Agent","label":{"en":["SMK – the national gallery of Denmark"],"da":["SMK – Statens Museum for Kunst"]},"logo":[{"id":"https://iip.smk.dk/iiif/jp2/smk_logo.jp2/full/!400,400/0/default.jpg","type":"Image","format":"image/jpeg"}]}],"metadata":[{"label":{"en":["Title"]},"value":{"none":["Stilleben med en Rømer"]}},{"label":{"en":["Object number"]},"value":{"none":["KMSsp392"]}},{"label":{"en":["Acquisition date"]},"value":{"none":["1737-12-31"]}},{"label":{"en":["Creator"]},"value":{"none":["Heem, Jan Davidsz. de"]}},{"label":{"en":["Creator B."]},"value":{"none":["1606-01-01T00:00:00.000Z"]}},{"label":{"en":["Creator D."]},"value":{"none":["1684-01-01T00:00:00.000Z"]}},{"label":{"en":["Production start date"]},"value":{"none":["1652-01-01T00:00:00.000Z"]}},{"label":{"en":["Production end date"]},"value":{"none":["1652-12-31T00:00:00.000Z"]}},{"label":{"en":["Type"]},"value":{"none":["Maleri"]}},{"label":{"en":["Technique"]},"value":{"none":["Olie på træ"]}},{"label":{"en":["Materials"]},"value":{"none":["Træ"]}},{"label":{"en":["Production dates notes"]},"value":{"none":["Værkdatering: 1652"]}},{"label":{"en":["Dimensions"]},"value":{"none":["{\"part\":\"Netto\",\"type\":\"højde\",\"value\":\"34.5\",\"unit\":\"centimeter\"}","{\"part\":\"Netto\",\"type\":\"bredde\",\"value\":\"50.5\",\"unit\":\"centimeter\"}","{\"part\":\"Brutto\",\"type\":\"højde\",\"value\":\"49\",\"unit\":\"centimeter\"}","{\"part\":\"Brutto\",\"type\":\"bredde\",\"value\":\"65.1\",\"unit\":\"centimeter\"}","{\"part\":\"Brutto\",\"type\":\"dybde\",\"value\":\"5.7\",\"unit\":\"centimeter\"}"]}},{"label":{"en":["Number of parts"]},"value":{"none":["1"]}},{"label":{"en":["Object history"]},"value":{"none":["- Tidligere i Kunstkammeret\r\n- Tilkommet samlingen før 1737\r\n\r\nPlaceringshistorie:\r\n- 1969, 3. sept.: Sølvgade"]}},{"label":{"en":["Notes"]},"value":{"none":["Tidligere Inventarnumre:\r\n- Kunstkammerets Inventar 1690-1737 p. 86 nr. 38\r\n\r\nKatalognumre: \n- Spengler nr. 392\r\n- Cat. 1864 nr. 206\r\n- Cat. 1875 nr. 126\r\n- Cat. 1904 nr. 130 \n- Kat. 1922 nr. 318\r\n- Kat. 1946 nr. 293"]}},{"label":{"en":["Labels"]},"value":{"none":["Mad har været et motiv i kunsten siden oldtiden. Fra det gamle Grækenland og den romerske antik er der bevaret vægmalerier og mosaikker med frugt og luksus spiser. I de overleverede skriftlige kilder om antikkens berømte malere og deres indbyrdes kappestrid om at være den bedste til at imitere naturen, handler én af de mest elskede og citerede anekdoter netop om Zeuxis’ maleri med vindruer. Da den hollandske maler Philips Angel (ca. 1618 – efter 1664) udgav et hyldestdigt til malerkunsten, Lof der schilder-konst (1642), indledte han sin tekst med den. Præcis ti år efter signerede og daterede den flamsk/hollandske maler Jan Davidsz. de Heem (1606-1683/84) Stilleben med med en rømer. Bordet er dækket op til et mellemmåltid med blomme, abrikos, fersken, vindruer, lidt godt fra havet og den uundværlige citron. Maleren har måske sendt en hilsen til Zeuxis med druen, der tegner sig som en refleks i det gule højlys på glasset med hvidvin. Mens rømerens pastost malede lysreflekser er gullige, er den blanke tintallerkens reflekser helt hvide. En korsform fra vinduets sprosser aftegner sig umærkeligt, men alligevel meget klart. Hele kompositionen er i balance, de perspektiviske forkortninger perfekt udført og farvernes harmonier uovertrufne. Måske var det kunstnerens ambition at male det, der ikke kan males – atmosfæren i rummet og lyset som naturfænomen: lysrefleksernes lynende glimt, lyset som flimrende modlys og lyset som en diagonal bjælke af oplyste støvpartikler. Angel advokerer for en måde at håndtere penslen på, som skulle inkarnere naturens væsen i sin lethed, og imiterer naturens atmosfære gennem sin iboende rumskabende virkning. Angel taler om en ”sødt-flydende pensel” (sweet-flowing brush), som fremkalder en ”sød tilbagetrækning” (sweet receding), for uden den kan man ikke praktisere én eneste af de listede punkter i malerkunstens værktøjskasse. Med sit maleri har de Heem måske villet demonstrere sine færdigheder som en maler, der evnede at imiterer naturens dybde, det man med samtidens hollandske term kaldte ”houding”.","Food has been a theme in art since ancient times. From classical Greece and Rome, murals and mosaics with fruit and luxury foods have been preserved. In the written sources of ancient renowned painters and their competitions at being the best to imitate nature, one of the most beloved and quoted anecdotes deals precisely with Zeuxis’ painting of fruit. When the Dutch painter Philips Angel (ca. 1618 – after 1664) published a poetic tribute to painting, Lof der schilder-kunst (1642), he began his text with this anecdote. In 1652 the Flemish/Dutch still life painter Jan Davidsz. de Heem (1606-83/84) signed and dated his painting Still Life with a Roemer. The table is covered for a snack with plum, apricot, peach, grapes, some seafood and the indispensable lemon. The painter may have been sending a greeting to Zeuxis with the grape, which appears as a reflection in the yellow bright light on the glass of white wine. While the roemer wine goblet’s impasto painted light reflections are yellowish, the reflections of the pewter plate are completely white. On the edge of the plate a reflection of the cross-window makes a faintly noticeable pattern, yet very clear. The entire composition is in balance, the foreshortenings are perfectly executed and the harmony of the colors unsurpassed. Perhaps it was the artist's ambition to paint what cannot be painted: the atmosphere in the room and the light as the natural phenomenon; the lightning sparkle of the light reflexes, the light as flickering backlight and the light as a diagonal beam of illuminated dust particles. Angel advocates a way of handling the brush, which should incarnate the essence of nature in its lightness and imitate the atmosphere of nature through its inherent space-creative effect. Angel talks of a ‘sweet-flowing brush’, which evokes a ‘sweet receding’ because without it, one cannot practice any one of the listed technical skills in the toolbox of painting. With his painting, de Heem may have wanted to demonstrate his skills as a painter capable of imitating the depths of nature, what at the time was called ‘houding’."]}},{"label":{"en":["Exhibitions"]},"value":{"none":["Blomster og verdenssyn","Opulence in Stillness – Masterpieces from the oeuvre of Jan Davidsz. De Heem (Utrecht, 1606 – Antwerp, 1684)","Kunst på bordet!","Kunst på bordet!"]}},{"label":{"en":["Department"]},"value":{"none":["Den Kongelige Maleri- og Skulptursamling"]}},{"label":{"en":["Public domain"]},"value":{"none":["true"]}},{"label":{"en":["Latest internal modification"]},"value":{"none":["2026-10-07T08:01:15Z"]}},{"label":{"en":["Internal ID"]},"value":{"none":["1170018719_object"]}}],"thumbnail":[{"id":"https://iip-thumb.smk.dk/iiif/jp2/wp988q77n_kmssp392.tif.jp2/full/!1024,/0/default.jpg","type":"Image","format":"image/jpeg","service":[{"id":"https://iip.smk.dk/iiif/jp2/wp988q77n_kmssp392.tif.jp2","type":"ImageService2","profile":"level1"}]}],"items":[{"id":"https://api.smk.dk/api/v1/iiif/canvas/KMSsp392/0","type":"Canvas","label":{"none":["KMSsp392"]},"height":9419,"width":13656,"items":[{"id":"https://api.smk.dk/api/v1/iiif/canvas/KMSsp392/0/page","type":"AnnotationPage","items":[{"id":"https://api.smk.dk/api/v1/iiif/canvas/KMSsp392/0/annotation","type":"Annotation","motivation":"painting","body":{"id":"https://iip-thumb.smk.dk/iiif/jp2/wp988q77n_kmssp392.tif.jp2/full/!1024,/0/default.jpg","type":"Image","format":"image/jpeg","height":9419,"width":13656,"service":[{"id":"https://iip.smk.dk/iiif/jp2/wp988q77n_kmssp392.tif.jp2","type":"ImageService2","profile":"level0"}]},"target":"https://api.smk.dk/api/v1/iiif/canvas/KMSsp392/0"}]}],"annotations":[{"id":"https://api.smk.dk/api/v1/iiif/annotations?canvas=https%3A%2F%2Fapi.smk.dk%2Fapi%2Fv1%2Fiiif%2Fcanvas%2FKMSsp392%2F0","type":"AnnotationPage"}]},{"id":"https://api.smk.dk/api/v1/iiif/canvas/KMSsp392/1","type":"Canvas","label":{"none":["KMSsp392"]},"height":3064,"width":3542,"items":[{"id":"https://api.smk.dk/api/v1/iiif/canvas/KMSsp392/1/page","type":"AnnotationPage","items":[{"id":"https://api.smk.dk/api/v1/iiif/canvas/KMSsp392/1/annotation","type":"Annotation","motivation":"painting","body":{"id":"https://iip-thumb.smk.dk/iiif/jp2/3b591956f_KMSKMSsp392.tif.jp2/full/!1024,/0/default.jpg","type":"Image","format":"image/jpeg","height":3064,"width":3542,"service":[{"id":"https://iip.smk.dk/iiif/jp2/3b591956f_KMSKMSsp392.tif.jp2","type":"ImageService2","profile":"level0"}]},"target":"https://api.smk.dk/api/v1/iiif/canvas/KMSsp392/1"}]}],"annotations":[{"id":"https://api.smk.dk/api/v1/iiif/annotations?canvas=https%3A%2F%2Fapi.smk.dk%2Fapi%2Fv1%2Fiiif%2Fcanvas%2FKMSsp392%2F1","type":"AnnotationPage"}]},{"id":"https://api.smk.dk/api/v1/iiif/canvas/KMSsp392/2","type":"Canvas","label":{"none":["KMSsp392"]},"height":2323,"width":3413,"items":[{"id":"https://api.smk.dk/api/v1/iiif/canvas/KMSsp392/2/page","type":"AnnotationPage","items":[{"id":"https://api.smk.dk/api/v1/iiif/canvas/KMSsp392/2/annotation","type":"Annotation","motivation":"painting","body":{"id":"https://iip-thumb.smk.dk/iiif/jp2/fj2365563_KMSsp392-cropped.tif.jp2/full/!1024,/0/default.jpg","type":"Image","format":"image/jpeg","height":2323,"width":3413,"service":[{"id":"https://iip.smk.dk/iiif/jp2/fj2365563_KMSsp392-cropped.tif.jp2","type":"ImageService2","profile":"level0"}]},"target":"https://api.smk.dk/api/v1/iiif/canvas/KMSsp392/2"}]}],"annotations":[{"id":"https://api.smk.dk/api/v1/iiif/annotations?canvas=https%3A%2F%2Fapi.smk.dk%2Fapi%2Fv1%2Fiiif%2Fcanvas%2FKMSsp392%2F2","type":"AnnotationPage"}]}]}