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Afterword The Flemish art market of the early modern period was unique among European countries. Without the strict social structure that determined the value of art, Flemish artists were more independent in their work. Of course, religious and historical paintings remained prized atop the hierarchy of genres, but painters had more of an opportunity to depict that which they found beautiful. The cover of this year’s Babel is a beautiful 17th century still-life by Jan Davidz de Heem. De Heem is recognized by paintings such as this: luscious, vibrant still lives packed with opulent jewel-tones that shine against a dark background. The piece is relatively simple in subject, but the vivid oranges and hot pinks are instantly attentiongrabbing. I like to imagine the original owner hung the piece somewhere they could sit close-by, and study the way de Heem painted the glass vase, or notice the myriad critters amongst the foliage. This piece is one I myself would be proud to hang on my walls, and am so happy to place on my bookshelf. Simple pleasures feel more important these days. I would be remiss to gloss over the circumstances that colour this year’s publication. As the COVID-19 pandemic keeps us “sheltering-in-place,” the space I am in, and the things I look at have become more important. I have learned to take pleasure in slow-moving mornings, the days I make my bed, and the meals I cook for my home. I feel a new closeness to the things I have chosen to decorate my space with, appreciating more and more how lucky I am to look at something beautiful. De Heem’s painting is simple, yes, but it is beautiful,
