Pieter Claesz was born in Burgsteinfurt in West Germany but moved to Haarlem in l6l7 where he became the leading exponent of still-life painting in this city. His palette, which was almost devoid of strong colour, is the most distinctive aspect of his restrained art.

Pieter Claesz perfected the "breakfast" piece still-life, the ingredients of which seldom vary. He was fond of the effect of a crumpled white tablecloth and often included half peeled lemons, bread, fruit and metal and glass tableware. Vanitas themes were usually implicit in the unfinished meals, reminding the spectator of the transience and uncertainty of life.

We know that Pieter Claesz collaborated with other still-life painters working in Haarlem at that time, especially Roelof Koets and, it would appear, Gerrit Claesz Heda as well. Often, the distinctive styles of both artists are evident in the execution of the work and it is hoped that further research will unearth contracts and documents relating to the execution of certain paintings by a collaboration between the different artists.

His son, Nicolaes Berchem, born in 1620 was to become one of the leading Italiante Dutch painters of his generation.

The artist's work can be found in nearly every major and minor institution around the world.