Research Of How The Elements Of Vanitas Are Present In Contemporary Artwork
Four centuries ago, Dutch and Flemish painters began producing hyper-realist Still lifes depicting symbolical objects such as skulls, books, burning candles, musical instruments and decaying flowers - seemingly freezing them beyond time. This subgenre of Still life is referred to as Vanitas and began as a result of an economic boom referred to as the ‘Dutch Golden Age’ in Holland during the 17th century. This prompted artists at the time to produce these allegorical pieces to convey a message about the brevity of human life, as well as the ephemerality and essential fruitlessness of human pleasures. However, according to historian Sybille Ebert-Schiffer the artists also, paradoxically, boastfully display their “ability to give permanence to the ephemeral and thereby overcome death”. Skulls were used as an obvious Memento Mori (an object kept as a reminder of the inevitability of death) for their universal recognition as a symbol of death. Books and manuscripts were used to symbolise the temporary nature of human knowledge whilst burning candles or decaying flowers act as reminder that all beauty cannot endure, and moral considerations deserve more attention than materialistic inclinations. These purposefully created paintings would lead the viewer to reflect on the futility of superficial pleasures such as beauty, fame, money and possessions and eventually, exhorted the viewer to consider mortality and repent. Often, these paintings were associated with Christianity for its connection to the bible verse “Vanity of vanities, everything is vanity” (Ecclesiastes 1:2:12:8) and its similarity to biblical messages about Christian values. It is believed that Vanitas art appealed to wealthy Protestants who were looking to relieve their bad conscience for having attained so much earthly wealth. This curious rapport between human mortality and human ambition is one that is still very much alive today, in a world where we are infatuated with fads and trends and conditioned to strive for the highest standards possible. Therefore, have modern ideologies made the need for Vanitas in artists’ work today essential?
Whilst the repeated use of suggestive objects such as skulls, wilting flowers, books, and musical instruments gave the painting symbolical value, there are other key characteristics of Vanitas paintings that add to its philosophical qualities and make them easily recognisable. These comprise of first, a dark and murky background and a single ray of pale light which illuminates the objects creating an eerie, deathly feeling. This feature also removes any background allowing the objects to be glorified and spotlighted. The objects are painted using an earthy, muted palette which consists of ochres, siennas and browns adding to the impression that the objects are decaying. Lastly, a deliberate composition usually consists of objects jumbled together in disarray rather than beautifully placed like a typical Still life painting, suggesting the eventual overthrow of the achievements they originally represent. These characteristics can be seen in the piece Still Life with Books and Manuscript by Edwaert Collier (1663) where Colliers’ choice of objects such as an hourglass and a pocket watch are used to symbolise the quick passing of time amongst the mountain of cluttered objects.
Today we live in a world where a luxury lifestyle is idolised, and the immense technological advances have given the word “Vanity” a whole new meaning. Current artists have found themselves using the ideologies of Vanitas in their work to combat the ever-growing fixation with expensive clothing, online profiles and a desire to be famous. Despite the changes since the 17th Century where artists reminded wealthy patrons of the insignificance of their obsessions, artists in contemporary society are still using the elements and principles of Vanitas in their work and their purpose today is still to provide the viewer with an elevated outlook on their worldly pursuits. Contemporary portrayals can take a more varied approach, sometimes steering away from the typical, realistic Still life paintings once used and venturing into sculpture and installation work. The examples we will be discussing contain both the underlying messages about the triviality of human indulgence as well as key characteristics that would be associated with the Vanitas paintings created centuries ago. “I was taught to confront things you can't avoid. Death is one of those things. To live in a society where you’re trying not to look at it is stupid because looking at death throws us back into life with more vigour and energy. The fact that flowers don't last forever makes them beautiful” – Damien Hirst
Born 7th June 1965, English artist Damien Hirst is a prime example of this, with his Memento Mori titled For the Love of God (2007). This sculpture consists of a platinum cast of an 18th century human skull encrusted with 8,601 white diamonds, including a pear-shaped pink diamond in the centre of the forehead. Contextually, Hirst’s motivations behind the creation of the piece would have been heavily influenced by the discussions surrounding the ethicality of trafficking African blood diamonds together with the controversial financial crisis in the UK, which lead stock markets to tumble across the world. Hirst was clearly influenced by this as his London gallery, White Cube, disclaimed that all the diamonds used “are all ethically sourced, each with written guarantees in compliance with United Nations resolutions.” In addition, Bentley & Skinner, the jewellers that produced the skull for Hirst assured that all the diamonds were “conflict-free.” The sculpture and its mise en sciène include elements of Vanitas starting with the symbolic skull illustrating death itself, like the skulls in classical paintings that remind us of what lies ahead. Its exhibition originally took place in 2012 at the Tate Modern museum inside an almost pitch-black room, allowing its splendour to be the centre of attention. The way it was exhibited ties in closely with the dark, obscure backgrounds in the 17th century paintings and practically, they serve the same purpose. The perfect opulence of the scintillant diamonds juxtaposed with the deathly configuration of the skull is almost sickening when put into context. Alan Riding, author for The New York Times wrote “It is no secret that the art market has become drunk with money lately” in 2007 in an article about Hirst’s piece. It represents the need at the time for a life of luxuries and lavishness - when in fact all those things are meaningless because of the short time we have on the earth. Riding suggests that in a world where, although we should know better, we recognise that new purchases such as costly artworks will increase our validity. Hirst was set back with negative opinions about what the final outcome would look like including Richard Dorment, art critic of The Daily Telegraph who wrote: “It looks like the kind of thing Asprey or Harrods might sell to credulous visitors from the oil states with unlimited amounts of money to spend”. However, Hirst was beyond pleased with the outcome stating in an interview for the Tate Modern that “it has a kind of quietness and transcendence to it” which makes it “perfect”, much like the classical paintings which were designed to have a stillness and beauty to them. Over the years, there have been many speculations about the meaning of this piece however inevitably, the Vanitas elements present remind us of the predestination of death and the way humans are attracted to pleasures such as money, fame and power.
Whilst Hirst focuses on the moral correctness of a worldwide economic inclination, artists such as Georges Braque give us an insight on a more personal approach to Vanitas painting, with possible religious connotations. Georges Braque was a renowned 20th century French painter, collagist, printmaker and sculptor who played a major role in the development of Fauvism (emphasised use of strong colour over representational or realistic values) and Cubism (a two-dimensional artwork making use of simple geometric shapes and interlocking planes). Braque’s piece entitled Vanitas I (1938) is part of a series of numerous related still life works he created over the six years following 1983. This piece reflects Braque’s 20th century Cubist style with a flat, two-dimensional finish, a display of varied geometric shapes and a vivid, perhaps inappropriate palette in regard to the objects exhibited. Depicted on the right is a purple and beige skull and on the left a rosary with precisely 33 articulated beads wrapped around a crucifix. Evidently, Vanitas elements are present from the title of the piece itself, the skeletal representation of death and some of the religious undertones we can pick up from the beads and crucifix. With all these notable symbols of Vanitas, “art historians might be quick to say that these gathered items can represent Catholic Christian symbols,” writes art historian E.A Carmean on The Wall Street Journal website “and to suggest that Braque's real subject matter was mortality, faith, prayer”. However, there is much debate about the real motives behind this piece and whether it was truly created to send a message about the fate of death on mankind. Surprisingly, Braque reported to Picasso’s biographer John Richardson that there was no symbolism present in these Vanitas pictures but rather he has been “fascinated by the tactile quality of the rosary and the formal problems of mass and composition posed by the skull.” Additionally, he added that the artworks are “not allusions to the fact that mankind is mortal.” However, there are theories and disagreements that suggest that Braque’s series has direct links with his past experiences from the late 1930s through to 1945. During the war, Braque resided in Paris in some threatening conditions as the Germans thought him to be a “degenerate” modern artist. Nazi officers would be on guard across the street from Braque’s house with “guns in their pockets” as recalls Braque’s biographer Alex Danchev. A religious approach to his Vanitas paintings would be assumable after enduring the hardships of molitary surveillance and life threatening situations.
Although centuries apart, artworks today are still are produced in hopes of conveying the brevity of life and he insignificance of human pleasures. In a world where popular culture has gradually been democratized and mass consumerism has emerged it has been left to the contemporary artists to create pieces which will evoke feelings that will make the viewer contemplate the essence of their everyday lives. Hence why the foundations of Vanitas paining instilled by the renaissance artists are still very much alive today with the dark symbolism of the objects still present in a lot of artists work. As exhibited in Milroy’s work, the symbolism of these objects is still highlighted by gloomy backgrounds and cluttered compositions, in some ways glorifying the objects with an ironic reverence. The darkened background shows that humans can have tendencies to block out vital parts of a plentiful life in order to focus on fame, gadgets and fruitless pleasures. Doubtlessly, the rebirth of Vanitas couldn’t have been timelier as the paintings seem to remind the viewers to stray away from excessive Vanity and pride.
