Evert Collier

Evert Collier (26 January 1642 – few days before 8 September 1708) was a Dutch Golden Age still-life painter known for vanitas and trompe-l'œil paintings. His first name is sometimes spelled "Edward" or "Edwaert" or "Eduwaert" or "Edwart," and his last name is sometimes spelled "Colyer" or "Kollier".
Life
Collier was baptized Evert Calier in Breda, North Brabant. He was trained in Haarlem, where his earliest paintings show the influence of Vincent Laurensz van der Vinne, who became a member of the Haarlem Guild of St. Luke in 1649, and whose son Laurens van der Vinne listed "Evert Colier" in 1702 as one of the Haarlem guild members who had known his father. Van der Vinne was probably his teacher when Collier registered with the Haarlem guild in 1664. They both later influenced the Haarlem still-life painter Barend van Eisen.
By 1667, Collier had moved to Leiden, where he became a member of the Leiden Guild of St. Luke in 1673. He moved to Amsterdam by 1686 and to London in 1693. He returned to Leiden in the years 1702–1706, based on signed and dated works there, but was back in London at the end of his life where he was buried September 8, 1708 at St. James's, Piccadilly.
The Denver Art Museum, the Honolulu Museum of Art, the Indianapolis Museum of Art, the National Portrait Gallery (United Kingdom), the Rijksmuseum (Amsterdam) and the Tate (London) are among the public collections having paintings by Evert Collier.
The US historian, Dror Wahrman, has written a book on Collier's trompe-l'œil works, Mr. Collier's Letter Racks (OUP, 2014). The book brings together a wide range of the painter's still lifes from the late 17th and early 18th centuries, mostly from the time when Collier was living in London. Their themes were almost exclusively arrangements of journals, engravings, letters, medals, combs, sealing wax sticks and other ephemera, signifying an updating of the older 'memento mori' still life model.
Works
His works tend to be an arrangement of pieces of paper painted to "pop out" of the surface in a trompe-l'œil fashion. Like Van der Vinne before him, he often included prints, but these tended to be popular prints of the day.
An oil on canvas painting (Vanitas Still Life with Globe, Skull and Violin) previously attributed to Collier was later attributed to Pieter Legouch.
A Trompe-l'œil of Newspapers, Letters and Writing Implements on a Wooden Board (1699), 58.8 × 46.2 cm
Edward Collier (1683), Oil on Canvas, 44.4 × 52.8 cm
Still Life (1699), Oil on Canvas, 76.2 × 63.5 cm
Still Life: The Smell (1695), Oil on Canvas, 24 5/8 × 20 1/2 in
Still Life: Parliament (1695), Oil on Canvas, 24 1/2 x 29 3/4 in, M.S. Rau Antiques, New Orleans
Still Life with a volume of Wither's Emblemes (1696), Oil on Canvas, 83.8 × 107.9 cm
A Vanitas
Vanitas (1662), Oil on Wood, 94 × 112.1 cm
Vanitas Still Life (1684), Oil on Canvas, 99 × 123 cm
Self Portrait with Vanitas Still Life (1684), Oil on Canvas, Honolulu Museum of Art
Notes
Attribution:
References
Netherlands Institute for Art History (Dutch only)
Allgemeines Lexikon der bildenden Künstler von der Antike bis zur Gegenwart / unter Mitwirkung von 300 Fachgelehrten des In- und Auslandes; hrsg. von Ulrich Thieme und Felix Becker (1907–1950)
Adriaan van der Willigen en Fred G. Meijer, A Dictionary of Dutch and Flemish Still-life Painters Working in Oils, 1525–1725, Leiden 2003
Further reading
Tuominen, Minna: The Still Lifes of Edwaert Collier (1642–1708). Ph.D. thesis. University of Helsinki, 2014. (On-line version.)
Wahrman, Dror: Mr. Collier's Letter Racks, Oxford University Press, 2014.
External links
Web Gallery of Art
1642 births
1708 deaths
Dutch Golden Age painters
Dutch male painters
Artists from Breda
Painters from Leiden
Painters from Haarlem
Dutch still life painters
Trompe-l'œil artists