Johann Wilhelm Preyer considered today as the most important German painter of still lifes and best painting technician of the Düsseldorf School.
A nine-year training at the Düsseldorf Academy was the basis for his brilliant painting culture. However, it leaves open the question as Preyer was apparently unconditionally ever found to still life painting that does not exist in the Rhineland in 1820 as an image subject.
The iconography of the defunct Dutch still life tradition of the 17th and 18th centuries knew Preyer certainly from pictures and from museum visits. In his own work, he became inevitable elements of its predecessor, but translates its baroque staging in the visual language of his own time. In the complex mind game of the Baroque period, such as the allegorical meaning in the representation of Vergänglichkeits- and Beyond icons, Preyer renounced in favor of harmless pleasure in picturesque bravura.