Born and raised in Germany, Jan Weenix received training from his father in the method of painting; he started with genre scenes but soon took favor of still-lifes.[i] While he did not start out painting still life game-pieces as his career in painting developed it was clear that he would be well known for them in later times. Still Life with Hunting Trophies was created to be displayed in the castle of Bensberg along with several other panels with similar styles and themes.  Both symbol and metaphor, this work depicts the struggle of the hunter and the hunted and the struggle for social distinction in its content and form.

While the game-piece style paintings might not be popular in recent decades, they were highly valued and in great demand in the seventeenth century.[ii] The game-piece is simply a work of art containing depictions of animals killed by wealthy hunters.  In Weenix’s works and those of his followers, still-lifes of game became more decorative and spacious.  Such a prize is displayed in a lush landscape with a dramatic view into the distance along one side.[iii] Weenix used a technique that flourished in 1600s called chiaroscuro, which literally means in Italian, light and dark; this method allows for more natural lighting and more contrasts to be added, therefore making the painting more realistic.[iv] This method brought a sense of richness to the painting, emphasizing still the quality.

Still Life with Hunting Trophies is a Dutch game-piece that contains a number of dead animals.  In the foreground are a deer, a heron and a smaller bird.  On the ground in front of the slaughtered animals in the foreground is an array of hunting gear.  In the background are the hunters and other strange animals in the distance.  This piece can clearly be literally interpreted in the sense of the struggle of life being that hunting is a struggle of life itself; the animals are being hunted and killed for sport and later used as trophies to hang in the homes of the sophisticated; being that the people allowed to hunt were wealthy, the animals were located on their estate and were exotic to emphasize social power and prestige.  By having these animals and even being allowed to hunt proved high ranking in the social hierarchy.

While these dead game depict a literal hunt, they also symbolize status.  Certain situations such as those of the hunter and the hunted are critical and life threatening and indefinitely a struggle, but what can also be considered is the struggle of social hierarchy.  In society we base our entire lives off of rankings and monetary status therefore we struggle to gain respect and acceptance through these statuses.  There were many restrictions on hunting in the 1600s due to the desire to protect elite status; records show that certain people were still allowed to hunt.  A list of those entitled to hunt was made and it specifically named knights, nobles and high officers of the state.[v] Social status was crucial even in the act of hunting any kind of game.  It is also clear that hunting and obtaining the trophies of these animals added prestige to the hunter which gave him the ability to gain prestige in society.

In another sense on the struggle of hierarchy, people of upper middle class would buy the game-piece paintings to gain the appearance of having hunted them, even though it was illegal for them to hunt they could still have a taste of prestige.  These still-lifes were purchased by wealthy burghers in order to lend themselves a degree of social prestige.  Although they could not hunt, they could buy art.[vi] They would take the measures necessary to gain respect and social power.  The aristocracy and those in the upper class were obviously respected and were even given rights over others; the struggle of life to gain prestige may seem trivial but it is very important in the bigger aspect of life according to society.

This work is indicative of struggle both literally and socially.  The hunted will always struggle and fight for life in the sights of the hunter.  People in all societies will always struggle to get higher and higher in social and prestigious hierarchies.  Though this might not have had an exact impact other than aesthetic appeal, Still Life with Hunting Trophies can be interpreted and seen in many different lights.


[i] Jennifer M. Kilian. Weenix (2): Jan Weenix. http://www.oxfordartonline.com/subscriber/article/grove/art/T090961pg2 (April 2011)

[ii] Jennifer M. Kilian. Weenix (2): Jan Weenix. http://www.oxfordartonline.com/subscriber/article/grove/art/T090961pg2 (April 2011)

[iii] Scott A. Sullivan, The Dutch Gamepiece (The Boydell Press 1984) 61-62

[iv] Scott A. Sullivan, The Dutch Gamepiece (The Boydell Press 1984) 46

[v] Scott A. Sullivan, The Dutch Gamepiece (The Boydell Press 1984) 34

[vi] Jennifer M. Kilian. Weenix (2): Jan Weenix. http://www.oxfordartonline.com/subscriber/article/grove/art/T090961pg2 (April 2011)