Or, perhaps the answer may be in the fact that the Antwerp Artists’ Guild's lists were lost for the years 1607 to 1628, and some of the names are known only through other documents.Many scholars believe her work closely resembles that of Osias Beert and suppose a relationship between the two; some suggest she was his pupil.Beert began his career as a still-life painter when he became a master of the Antwerp guild in 1602; Although she was not in its listings, at least one painting of Peeters bears the stamp of the Antwerp Guild on its back, indicating she was indeed a member, or at least working on panels made by members of the Antwerp Guild.
A painting supposedly by her and dated 1657 was recorded but is now lost; this is much later than the dating given to her surviving works.
No record indicating Peeters' date of death has been found; however, scholars speculate various dates: in or after 1621; Peeters' first known painting is signed and dated 1607; the technical polish and compositional sophistication of this painting and of her other early works indicate the skill of a highly trained artist. Most artists as well as apprentices were included in the Artists Guild listings; however, her name is not found in any of the Artists Guild lists in Antwerp nor those of Amsterdam, Haarlem, Delft, The Hague or Middelburg.
Scholars speculate that she may have been the daughter of a painter, and thus not required to be included in the apprenticeship listings.
1607-1621) was a still-life painter who came from Antwerp and trained in the tradition of Flemish Baroque painting, but probably made her career mostly in the new Dutch Republic, as part of Dutch Golden Age painting.
Many aspects of her life and work remain very unclear, especially outside the period 1607 to 1621 from which period dated paintings are known.
She was unusual for her time in being a female painter, and is the earliest significant woman painter of the Dutch Golden Age; if regarded as a Flemish painter, she was the most famous Flemish woman of the 17th century.
Most other female Dutch painters also specialized in still lifes, which did not require knowledge of anatomy, among other advantages for women.
Unlike Maria van Oosterwyck and Rachel Ruysch, who specialized in flower painting, Peeters painted mostly subjects including food, and was prominent among the artists who shaped the traditions of the Dutch ontbijtjes, "breakfast pieces" with plain food and simple vessels, and banketje, "banquet pieces" with expensive cups and vessels in precious metals. It is traditionally agreed by scholars that her work appears to indicate she was from the province of Antwerp.
The city of Antwerp community archives includes a record of a Clara Peeters, daughter of Jean (Jan) Peeters, baptized on in the Church of St.
Walburga A baptism in 1594 would imply that her 1607-dated paintings were done when she was 12 or 13, and scholars doubting that those early works could have been done by one so young have posited that she was born in the 1580s.
Some have suggested that in light of there not being any evident work by Peeters after 1621, she ceased painting after getting married, as for example Judith Leyster effectively did.