Clara Peeters was baptized in May of 1594. Her earliest works were primarily still life paintings, flowers, shells, dishes full of food, shellfish, glassware and even the ornate handles of knives. The first known work was signed in 1608 followed by another in 1609 with an additional five works through 1612. Approximately 25 know works can be attributed to Peeters. Peeters was the daughter of Jan Peeters and lived in Antwerp. In 1639, she was married in Antwerp to Hendrick Joossen. These few facts are what is known with certainty about Clara Peeters. It is unknown who trained her and the first signed and dated work would have been at the age of fourteen or fifteen, and quite unusual for a female so young to be so bold. There is no evidence from lists of apprentices in any painters guild that she apprenticed in Antwerp and the style of still life painting that she is known for in her early works pre-date other Flemish still life during that period.

Her first works do possess compositional delivery that is quite sophisticated. Peeters was intrigued by light and she used coins and goblets, and other items made of metal to reflect this interest. Some of Peeters works represent less sophisticated and elegant items such as cheeses and breads, or the more everyday fare. Peeters used dark backgrounds and monochromes in browns in very symmetrical pieces which would have been out of date for Flemish art of this period. Fewer than ten still life paintings with flowers and fewer than five still life paintings with fruit existed before this period leaving one to suspect that Peeters helped to originate this genre. An interesting personal note, Peeters married in 1639 at the age of forty five, much later in life than most women of that day. Another interesting note seems to indicate that unlike other women artists, her sex seemed to create interest instead of any prejudice towards her work.

 Peeter's still life paintings contrast from other painters by using fewer blooms and allowing the stems to show. The stems in some paintings lend to the composition as they bend towards the spectator and create visual interest. By 1620, Peeters had changed her style from the elaborate early works to a much plainer execution. Perhaps a result of the tastes of Holland of the period, Peeters moves to displaying cheeses and bread. A simpler fare is depicted in these later works representing a simpler composition with monochromatic color schemes. One stoneware jug is used in three separate paintings during this period. The shift has shown her early works challenged her talents. The latter show objects so plainly painted it would appear she no longer cared about pleasing the viewer. The later works repeat the same subject with fewer pieces produced and the quality does not match her earlier works. Peeters still gives an impressive depiction of still life from Flanders or Holland during this period.