After 1630, arrangements of trophies of the hunt called gamepieces became a significant subclass in Dutch still life painting. The demand for this kind of picture reflects the increasing prosperity of the Dutch and their changing social values. By law, hunting was a sport reserved for the nobility. Some patrons, like the Elector Palatine, ordered paintings to include views of their own estates, but many more clients were prosperous burghers who bought the pictures for their associations with aristocratic privilege and their decorative brilliance.

The most important artist for the ultimate form of the genre was Jan Weenix. Familiar with Italian and Flemish traditions, he abandoned the conventions of placing game in a kitchen or market setting and developed backgrounds with formal gardens or hunts. A number of details in this signed but undated painting reflect hunting practices. The two common game birds at left set off the prized quarry, the deer and heron. At right are hoods for falcons. The live monkey adds an exotic touch. These elements can be found in other paintings by Weenix. But the background depicting a hunting party at sunset approaching a stag attacked by dogs adds an unusual note of narrative drama to the composition.

In 17th-century academic theory, still lifes were classified below religious, historical and mythological subjects. These standards began to change during the last years of Weenix's life as writers began to acknowledge the high level of artistic skill and invention in this genre of painting. In the 18th century, Goethe wrote of Weenix, "he has equaled and, in regard to effect, surpassed nature." Twentieth century taste may not readily appreciate such a sumptuous vision of the hunt.

text from: 1985-1986, "Two Years of collecting: Acquistions 1983-1985," The Ackland Art Museum, UNC-CH, Dec. 13, 1985 to Jan. 19, 1986