Jan Baptist Bosschaert or Jan Baptist Bosschaert the Younger (baptized on 17 December 1667 in Antwerp − 1746 in Antwerp) was a Flemish still life painter who is principally known for his decorative still lifes with flowers. He collaborated with figure artists on compositions which combined allegorical or mythological scenes with a still life element. He was active in Antwerp.
Jan Baptist Bosschaert was born in Antwerp as the son of the painter-baker Jan Baptist and his second wife Joanna de Bie, the sister of the painter Erasmus de Bie. His father died young leaving Jan Baptist in a poor home and without education. He was reportedly still illiterate at the age of 17.
As the young Jan Baptist showed talent for art his brothers who were his guardians placed him in the care of the flower painter Jan Baptist de Crépu. He studied with de Crépu starting from the year 1685. He lived also in de Crépu’s house. Another pupil of de Crépu who studied at the same time as Bosschaert was the flower painter Simon Hardimé. Jan Baptist de Crépu fled his creditors in 1688 and died in Brussels the next year.
Bosschaert became in the Guild year 1692–1693 a master of the Guild of Saint Luke of Antwerp. Bosschaert was active in Antwerp as a flower painter and received many commissions from the local bourgeoisie. Nothing is known about his personal life.
He died in Antwerp in 1746.
Bosschaert was a specialist still life painter mainly of large flower still lifes. Not many signed works by his hand are known and many may still be located in private collections without proper attribution.
Together with those of his near contemporary Gaspar Peeter Verbruggen the Younger, his works represent a development towards a more decorative style in late 17th century Flemish still life painting. The two artists placed the flower bouquets in large stone vases or arranged them in the form of garlands around these vases or garden ornaments. In these works garlands of sumptuous flowers are entwined around sculpted urns. The vases were often placed in outdoor settings with figures. This style was followed by Simon Hardimé, Pieter Hardimé and Pieter Casteels III. His large vertical paintings with their tripartite division followed Gaspar Peeter Verbruggen the Younger’s compositions.
In its use of broad, impasto brush strokes, the style of his work reflects developments initiated by Italian artists Mario Nuzzi and Michele Pace del Campidoglio. The work of the French painter Jean-Baptiste Monnoyer was also an influence.