Vanitas

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Vanitas by Antonio de Pereda

Vanitas (Latin for 'vanity', in this context meaning pointlessness, or futility, not to be confused with the other definition of vanity) is a genre of art which uses symbolism to show the transience of life, the futility of pleasure, and the certainty of death, and thus the vanity of ambition and all worldy desires. The paintings involved still life imagery of transitory items. The genre began in the 16th century and continued into the 17th century. Vanitas art is a type of allegorical art representing a higher ideal. It was a sub-genre of painting heavily employed by Dutch painters during the Baroque period (c.1585–1730). [1] Spanish painters working at the end of the Spanish Golden Age also created vanitas paintings.

Contents

Etymology

The word vanitas comes from Latin and means vanity. In this context vanity means pointlessness, or futility, not to be confused with the other defintion of vanity. Vanity is referenced in the Bible's Old Testament in Ecclesiastes 12:8, "Vanity of Vanities, saith the preacher, all is vanity". In some versions vanity is translated as "meaningless" to avoid the confusion with the other definition of vanity. [2] The message is that human action is temporary and faith is forever. [3] Memento mori is a similar theme which when translated from Latin means, "remember that you will die." [4]

History

A group of painters in Leiden began to produce vanitas paintings in the beginning of the 16th century and they continued into the 17th century. Vanitas art is an allegorical art representing a higher ideal or containing hidden meanings. [5] Vanitas are very formulaic and they use literary and traditional symbols to convey mortality. Vanitas often have a message that is rooted in religion or the Christian Bible. [6]

In the 17th century the vanitas genre was popular among Dutch painters. The paintings often have symbolic imagery which attempts to convey the message that all people die, encouraging the viewer to think about the futility of our earthly pursuits. [1] The well known Spanish vanitas refer to Spain's rulers and the politics of Spain. [4] It was popular to include skulls in vanitas paintings as a symbol of the ephemeral nature of life. [5]

Outside visual art

In modern times

See also

Related Research Articles

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Vanity is the excessive belief in one's own abilities or attractiveness to others. Prior to the 14th century, it did not have such narcissistic undertones, and merely meant futility. The related term vainglory is now often seen as an archaic synonym for vanity, but originally meant considering one's own capabilities and that God's help was not needed, i.e. unjustified boasting; although glory is now seen as having a predominantly positive meaning, the Latin term from which it derives, gloria, roughly means boasting, and was often used as a negative criticism.

<span class="mw-page-title-main">Maria van Oosterwijck</span> Dutch artist (1630–1693)

Maria van Oosterwijck, also spelled Oosterwyck, (1630–1693) was a Dutch Golden Age painter, specializing in richly detailed flower paintings and other still lifes.

<span class="mw-page-title-main">Nicolaes van Verendael</span> Flemish painter (1640–1691)

Nicolaes van Verendael or Nicolaes van Veerendael was a Flemish painter active in Antwerp who is mainly known for his flower paintings and vanitas still lifes. He was a frequent collaborator of other Antwerp artists to whose compositions he added the still life elements. He also painted a number of singeries, i.e., scenes with monkeys dressed and acting as humans.

<span class="mw-page-title-main">Cornelis Norbertus Gijsbrechts</span> Flemish painter (1640–1675)

Cornelis Norbertus Gijsbrechts or Gysbrechts was a Flemish painter who was active in the Spanish Netherlands, Germany, Denmark and Sweden in the second half of the seventeenth century. He was a court painter to the Danish royal family. He specialised in trompe-l'œil still lifes, an artistic genre which uses visual tricks to give viewers the illusion that they are not looking at a painting but rather at real three-dimensional objects. He also created many vanitas still lifes.

Harmen Steenwijck or Harmen Steenwyck was a Dutch Golden Age painter who specialised in still life painting, especially in the style of Dutch vanitas.

<span class="mw-page-title-main">Hendrick Andriessen</span>

Hendrick Andriessen, known as Mancken Heyn was a Flemish still-life painter. He is known for his vanitas still lifes, which are made up of objects referencing the precariousness of life, and 'smoker' still lifes, which depict smoking utensils. The artist worked in Antwerp and likely also in the Dutch Republic.

<span class="mw-page-title-main">Joris van Son</span> Flemish painter (1623–1667)

Joris van Son or Georg van Son was a Flemish still life painter who worked in a number of sub-genres but is principally known for his still lifes of fruit. He also painted flowers, banquets, vanitas still lifes and pronkstillevens. He is known to have painted fish still lifes representing the Four Elements, and also collaborated with figure artists on 'garland paintings', which typically represent a devotional image framed by a fruit or flower garland.

<span class="mw-page-title-main">Cornelis van der Meulen</span> Dutch painter

Cornelis van der Meulen or Cornelis Vermeulen, was a Dutch painter who after training in the Dutch Republic had a career in Sweden where he became a court painter. He is known for still lifes of flowers and game, trompe-l'œil and vanitas still lifes, topographical views and portraits.

<span class="mw-page-title-main">Jan Pauwel Gillemans the Elder</span> Flemish goldsmith and still life painter

Jan Pauwel Gillemans the Elder was a Flemish goldsmith and still life painter who is known for his fruit still lifes, flower pieces, vanitas still lifes and pronkstillevens.

<span class="mw-page-title-main">Franciscus Gijsbrechts</span>

Franciscus Gijsbrechts, was a Flemish painter of still lifes specialised in vanitas still lifes and trompe-l'œil paintings. He worked in the second half of the seventeenth century in the Spanish Netherlands, Denmark and the Dutch Republic. Like his father, he painted trompe-l'œil still lifes, a still life genre that uses illusionistic means to create the appearance that the painted, two-dimensional composition is actually a three-dimensional, real object.

<span class="mw-page-title-main">Catarina Ykens (I)</span> Flemish artist (1608–1666)

Catarina Ykens or Catarina Ykens (I) (née Floquet) (1608/1618 – after 1666) was a Flemish still life painter. She is known for flower and fruit garland paintings and vanitas paintings.

<span class="mw-page-title-main">Catarina Ykens (II)</span> Flemish artist (1659–1737)

Catarina or Catharina Ykens or Catarina Ykens (II) (1659 - 1737 or later) was a Flemish painter. The few surviving paintings attributed to her are still lifes but she is also believed to have painted history paintings with biblical themes.

<span class="mw-page-title-main">Frans van Everbroeck</span>

Frans van Everbroeck was a Flemish still life painter who is known for his fruit still lifes, vanitas still lifes and pronkstillevens. He was active in Antwerp, Amsterdam and London. The Dutch painters Abraham Mignon and Maria van Oosterwyck are regarded as his followers.

<span class="mw-page-title-main">Joannes de Cordua</span>

Joannes de Cordua or Johann de Cordua was a Flemish painter who was mainly active in Vienna and Prague. He is known for his still lifes, peasant scenes, portraits, and biblical themes.

<span class="mw-page-title-main">Godfriedt van Bochoutt</span> Flemish still life painter

Godfriedt van Bochoutt (fl 1659–1666 was a Flemish still painter who was active in his native Bruges and Rotterdam. The limited body of work attributed to him ranges from fruit still lifes, hunting still lifes, vanitas still lifes and trompe l'oeil paintings.

<span class="mw-page-title-main">Carel Fonteyn</span> Flemish painter

Carel Fonteyn or Carel Fontyn was a Flemish painter active in Antwerp. He is known for his Vanitas still lifes with flowers, skulls and other Vanitas symbols.

<i>Still Life with Books</i> 17th century painting by Jan Lievens

Still Life with Books is a c. 1627–1628 oil-on-panel painting by Dutch artist Jan Lievens. The painting is an example of the Dutch vanitas genre and an example of Dutch realism. The painting was privately owned until it was purchased by the Rijksmuseum in 1963. For many years experts thought it was the work of Rembrandt.

<i>Still Life: An Allegory of the Vanities of Human Life</i> 17th-century painting by Harmen Steenwijck

Still Life: An Allegory of the Vanities of Human Life is an oil-on-panel painting by the Dutch Golden Age painter Harmen Steenwijck. Created around 1640, the work is an allegorical vanitas. It has been in the collection of the National Gallery in London since 1888.

<span class="mw-page-title-main">Pseudo-Roestraten</span>

Pseudo-Roestraten or Pseudo-Roestraeten is the notname given to an artist or artists to whom or which are attributed a number of vanitas still lifes likely created in the period between 1675 and 1725. The notname was given as the artist's works show some resemblance to that of the Dutch painter Pieter Gerritsz van Roestraten. Recurring elements of the paintings are arrangements of books, documents and precious objects with a vanitas meaning displayed on oriental carpets. The artist(s) may have been of German or Scandinavian origin. Many works of the anonymous artist are or were held in English collections, which makes it likely that the artist worked for some time in England.

<span class="mw-page-title-main">Christian von Thum</span>

Christian von Thum or Christian von Thum (I) (Kalmar, c. 1625 – Stockholm, 12 August 1686) was a Swedish innkeeper, still life painter, decorative painter, set painter, copyist and art agent. His known works include vanitas still lifes and still lifes with foodstuffs, paintings of hermits and religious paintings.

References

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