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Vanitas
An arrangement of flowers, formed of roses, tulips, pinks and a great lilium candium, is positioned in a glass vase on a table behind a nautilus, some apricots, some cherries and also some peaches. To the left, a crucifix stands after a skull. On the edge of the table exist a pocket watch, an ink stand, a pen and also a sheet of paper on which are composed these lines:
Mer naer d’Alderschoonste Blom
daer en siet males naer’om.
They describe the crucifix and are gone along with by the signature of ‘Jan de Heem,’ which is repeated in one more corner of the photo along with that of the artist’s collaborator, ‘N. van Veerendael.’
The Vanitas (Vanity), a still-life which, using selected things usually organized about a head, attracts attention to the brevity of life, was understood in Antiquity, when it had an epicurean relevance: at dishes, right now when satiety began to make itself really felt, a small coffin was brought round to remind the guests that they had very little time to delight in life therefore to recover their cravings. Specific mosaics at Pompeii reveal skeletons and also heads, as well as there ares a real Vanitas where a skull in addition to
lot of money and also a mason’s rule is gone along with by the words mors omnia aequat. The Vanitas came back later, in the fifteenth century, with a Christian importance– that is to say, designed to lead the viewer to penitence, not to enjoyment, by calling after him to practice meditation on his end. The portrayal, so dear to the humanists of the sixteenth century, of St Jerome meditating in his cell beside a head and also various other things, may have played a part in the discussion of this kind of paint, which was predestined to have a great success in the seventeenth century. The spiritual revival birthed of the Counter-Reformation then made reflection on fatality a spiritual exercise, so much to ensure that the skull in a monk’s cell or in a priest’s space was as a lot a pious things as the rosary. This type of meditation was equally acquainted to the Protestants, therefore the painting of the Vanitas was as common in the components of Europe controlled by the Reformed religious beliefs as in the Catholic nations.
The seventeenth-century Vanitas was a still-life composed of essentially transient living organisms, fruit, flowers, butterflies and also various other bugs– with the hour glass, clock or watch to suggest the trip of time; in some cases publications and also scientific tools symbolized the vanity of human knowledge, which finishes in the tomb.
Both water-colours by Hofnagel, dated 1591, in the Lille Gallery, which reveal flowers, butterflies, caterpillars, other pests and snails in the manner of the grotteschi, arranged in one of them concerning a skull as well as an hour glass, in the various other concerning a cherub and also a hr glass, and with quotations from Holy bible brought in, are absolutely the very first comprehensive still-lifes; we may have recreated among them below, had not the blossoms in them practically: totally discolored– an instance of ephemerality not foreseen by the painter! The spread of the Vanitas was motivated by the taste for moralising saws and symbols, which came to be a mania at the end of the 16th century as well as in the seventeenth. It seems exactly what may be called the ‘classic’ sort of Vanitas still-life was formed at Leyden drunk of the thoughtful circle at the College there: it is worth noting that the six instances created by Jan Davidsz de Heem bear days from 162.5 to 1629 and also so belong specifically to his Leyden duration. It was in reality just in passing that Jan Davidsz de Heem treated the Vanitas theme, and also our factor for deciding on one of his images to represent the genre is that in it the flower plays the principal component and the head, whose apparition is instead disagreeable in such a book as this, hides inconspicuously away in the shade.
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