Belonging to the wider circle of Calvinist exiles from Catholic Flanders working in the Saint-Germain des-Pr-area of Paris, Moillon was the sole female practitioner of a group that included S-stien Stosskopf, Jacques Linard, and Lubin Baugin. Louise Moillon reassesses the importance of this painter of still-life (and occasional genre) paintings through a consideration of the context in which she was working; the centrality of the genre of still life in the Saint-Germain-des-Pr-area of Paris in the earlier part of the seventeenth century; and provides close visual analyses of her works. Moillon offers a useful case study of a supremely talented artist whose relative posthumous invisibility may be explained by three key features: her gender; the genre of still life at which she excelled but which became increasingly overlooked after the foundation of the French Acad-e royale in 1648; and a change in her domestic role after her marriage, when she produced fewer works. This book questions
