For centuries, artists have explored the relationship between art and nature; it has often been a subject in itself. This painting addresses the theme in several ways.

The message that life's pleasures are fleeting, achieved through an inventory of the objects depicted, might lead to the observation that art outlasts life: because of the artist's skill, the food will never spoil and objects will never teeter off the table.

The artist's reflection in the silver wine ewer reminds the viewer that behind this impressive array is the painter himself, who arranged the objects, observed them and rendered them with bravura.

A sly detail questions this supposed direct observation. The reflection shows the artist in a Dutch studio with a four-paned window, very different from the architectural setting of the still life. Is it possible that in his studio, Van Beyeren concocted the whole thing—that the painting is an invention rather than a recording?

Like many still-life artists who found a commercial formula that reached a broad popular audience, Van Beyeren either kept a group of expensive decorative vessels or, more likely, drawings of them, and then recycled their images throughout his paintings.

The silver plooi (pleated) platter, watch, peeled orange, silver charger and footed tazza are repeated in the Seattle Art Museum's painting. The white cloth is also similar.

In the seventeenth century, the Netherlands dominated international trade among European countries through its command of international waters. Amsterdam rose to become a leading European city, and the country, including its rising merchant class, enjoyed unprecedented prosperity and became enthusiastic and prolific consumers. This sudden advance was accompanied by cautionary messages and a concern that the good times could not last. Sobering messages about careless over-indulgence permeated literature and the visual arts, summed up in a Dutch emblem, "Early Ripe, Early Rot." In the visual arts, the language of these messages could be understated.

Here a humble family is shown as a virtuous example, giving thanks for a simple meal.

Underlying the pleasures spread before us is a sobering message of restraint. How does Van Beyeren convey this idea?

Wine glasses are half-full, an image of moderation.

Fruits are shown in full ripeness, a moment of perfection that cannot last.

Expensive vessels are tipped over, upsetting the order that was a virtue of Dutch domestic life.

A watch with a blue ribbon sits at the center of the composition, reminding us that time is running out and we would do better to turn our thoughts from earthly pleasures.