雷切尔Ruysch生于1664 6月3日在海牙向科学家弗雷德里克Ruysch和玛丽亚后，建筑师的女儿彼得帖子。她的父亲是解剖学和植物学教授，和业余画家。他有动物骨骼的广阔的收集和矿物和植物标本雷切尔用来练习她的绘画技巧。在年轻年龄，她开始画花和她父亲的收藏昆虫的流行方式奥托Marseus面包车Schrieck。她知道他和他的弟子们从他的工作霍特斯植物园阿姆斯特丹，她的父亲做业务。

雷切尔也就会知道，并与花的画家相会扬和玛丽亚Moninckx，阿莉达Withoos和约翰娜海伦娜Herolt -格拉夫，谁所有的人都对她的年龄，谁的霍图斯业主工作艾格尼丝座和谁像她的父亲，还与合作该厂收藏家简和卡斯帕Commelin。1679年，在年龄十五，Ruysch当了学徒到威廉·阿尔斯特，一个突出的花卉画家在阿姆斯特丹。他在阿姆斯特丹的工作室看起来出过花的画家工作室玛丽亚面包车Oosterwijck。Ruysch研究了面包车阿尔斯特，直到他在1683年去世。除了绘画技巧，他教她如何在花瓶里安排花束所以它看起来自然，少正规化。这种技术产生了她的画更现实和三维影响。到时候Ruysch十八岁的她被生产和销售分别签署的作品。 

1693年，她嫁给了阿姆斯特丹人像画家Juriaen游泳池，与她有十个孩子。在她的婚姻和成年生活，她继续作画，并产生佣金惠顾的国际大循环。

 它是未知是否Ruysch是阿姆斯特丹的一员圣路加公会，但她在17世纪80年代早期签署的作品显示奥托Marseus面包车Schrieck的影响。通过1699雷切尔和她的家人搬到了海牙，在那里她被会员提供了Confrerie Pictura在海牙作为他们的第一位女性成员。[6]1701年，她和丈夫都成为海牙画家的公会成员。几年后，1708年，Ruysch应邀在法院工作，杜塞尔多夫和作为宫廷画家约翰·威廉，选举人宫廷。她获得涂在她定期带到杜塞尔多夫家作品的合同。她保持距离1708为他和他的妻子工作，直到1716年王子的死亡。

艺术史学家认为Ruysch是男性和女性中最有才华的静物画家之一。]通过她在86岁时去世，她生产了数百画，其中超过250已被记录在案或正在归功于她。她的作品过时建立她从15岁时画，直到她去世前几年。

Ruysch有图纸有深刻的理解和更早的传统的技术。这方面的知识提高了她的绘画能力。文体上，她的作品，以其俏皮的成分和绚丽的色彩，是洛可可运动的一部分。她在她的工作得到了广泛关注所有细节。片片花瓣，用细腻的笔触精心制造。[9]的Ruysch的画作背景通常是黑色的这对花卉油画在17世纪下半叶的时尚。她下垂的花朵和野生不对称成分茎创建画作，似乎拥有对他们有很大的能量。

Ruysch曾画了许多林地上的照片其特色的小动物，爬行动物，蝴蝶和真菌在她早期的工作。后来她通过花油漆作为她的主要关注点，并继续画画直到她去世，因此继续在17世纪的风格，下至下世纪中叶。

Ruysch的技能在每一朵花的分钟的观察打下，然后由成一个精心安排这将是非常困难的在本质上实现的，花不支持对方这么好下，这样的安排是完全现实的方式。与大多数的花件从17世纪的最后三分之一常见的，花的颜色比在早期照片更加审慎平衡。

每朵花的象征意义在17世纪被精心开发的，但是这个最关心推出了单花成一片VANITAS。除了扬凡Huysum，没有18世纪的花卉画家匹配雷切尔Ruysch的技巧。

It's not known if Ruysch is a member of the St. Luke's Guild in Amsterdam, but her work, signed in the early 1780s, shows the influence of the Otto marseus van schrick. Through 1699 Rachel and her family moved to the Hague, where she was offered by members to confreie pictura as their first female member in the Hague. In 1701, she and her husband became members of the Hague painters' Guild. A few years later, in 1708, Ruysch was invited to work in the court, Dusseldorf and as court painter John William, electing the court. She was awarded a contract to paint works she regularly brought to Dusseldorf's home. She kept a distance of 1708 working for him and his wife until the prince's death in 1716.

Art historians believe that Ruysch is one of the most talented still life painters in both men and women. ]Through her death at the age of 86, she produced hundreds of paintings, more than 250 of which have been recorded or are being attributed to her. Her work was built out of date from when she was 15 years old to a few years before she died.

Ruysch has a deep understanding of drawings and earlier traditional techniques. This knowledge improved her drawing ability. Stylistically, her works, with their playful elements and brilliant colors, are part of the Rococo movement. She got a lot of attention to all the details of her work. The petals are carefully made with delicate strokes. [9] Ruysch's painting background is usually black this pair of flower paintings in the second half of the 17th century fashion. Her drooping flowers and wild asymmetrical stems create paintings that seem to have a lot of energy for them.

Ruysch has painted many woodland photos of her early work featuring small animals, reptiles, butterflies and fungi. Later she used floral paint as her main focus, and continued to paint until she died, so she continued in the 17th century style, down to the middle of the next century.

Ruysch's skill is played down in the minute observation of each flower, and then it will be very difficult to make a careful arrangement. In essence, such arrangement is a completely realistic way when the flower does not support the other's good. With most floral pieces common from the last third of the 17th century, the color of the flower is more carefully balanced than in earlier photos.

The symbolic meaning of each flower was carefully developed in the 17th century, but this most concerned launched a single flower into a piece of vanitas. Apart from Yang van huysum, there is no 18th century flower painter with the skill of Rachel Ruysch.