101
Italian school, 17th century."Vanitas".Carved and polychrome wood. Brass, bronze and silver.
1/5
Description
Italian school, 17th century.
"Vanitas".
Carved and polychrome wood. Brass, bronze and silver.
Measurements: 22 x 38 x 11,5 cm,
A sculpture is presented in the form of a coffin with the front dominated by a glass that allows the spectator to see inside. In the centre of the piece, a skeleton lies dead on a red and gold bed. Death is not represented in a peaceful way, showing the corpse's passage to eternal life, but is presented in an exacerbated and dramatic way, with a skeleton whose skull has a gesture of terror with its mouth wide open. The body, which is turned so that the viewer can contemplate it more easily, is infested with maggots that crawl all over the bone, coiling around them, even on the face. The presence of the worms, as devourers of flesh, warns the viewer about the temporality of life and of his body as matter, thus delivering a reflection related to eternity and the correct way of life with which the faithful can attain glory.
This completely detailed sculptural work, both in the conception of the skeleton and the coffin that preserves it, is part of the genre of vanities, which was so important during the Baroque period. The transience of life was one of the themes that most preoccupied Baroque artists. Vanities denounced the relativity of knowledge and the vanity of the human race subject to the passage of time and death. This genre was particularly popular during the Baroque period, and its title and conception are related to a passage from Ecclesiastes: "vanitas vanitatum omnia vanitas" ("vanity of vanities, all is vanity"). In the 17th century, these moralising still lifes became very frequent as an indispensable complement to preaching and devotion in Europe, in forms and with slightly different intentions in Catholic and Protestant areas.
"Vanitas".
Carved and polychrome wood. Brass, bronze and silver.
Measurements: 22 x 38 x 11,5 cm,
A sculpture is presented in the form of a coffin with the front dominated by a glass that allows the spectator to see inside. In the centre of the piece, a skeleton lies dead on a red and gold bed. Death is not represented in a peaceful way, showing the corpse's passage to eternal life, but is presented in an exacerbated and dramatic way, with a skeleton whose skull has a gesture of terror with its mouth wide open. The body, which is turned so that the viewer can contemplate it more easily, is infested with maggots that crawl all over the bone, coiling around them, even on the face. The presence of the worms, as devourers of flesh, warns the viewer about the temporality of life and of his body as matter, thus delivering a reflection related to eternity and the correct way of life with which the faithful can attain glory.
This completely detailed sculptural work, both in the conception of the skeleton and the coffin that preserves it, is part of the genre of vanities, which was so important during the Baroque period. The transience of life was one of the themes that most preoccupied Baroque artists. Vanities denounced the relativity of knowledge and the vanity of the human race subject to the passage of time and death. This genre was particularly popular during the Baroque period, and its title and conception are related to a passage from Ecclesiastes: "vanitas vanitatum omnia vanitas" ("vanity of vanities, all is vanity"). In the 17th century, these moralising still lifes became very frequent as an indispensable complement to preaching and devotion in Europe, in forms and with slightly different intentions in Catholic and Protestant areas.
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Italian school, 17th century.
"Vanitas".
Carved and polychrome wood. Brass, bronze and silver.
Measurements: 22 x 38 x 11,5 cm,
A sculpture is presented in the form of a coffin with the front dominated by a glass that allows the spectator to see inside. In the centre of the piece, a skeleton lies dead on a red and gold bed. Death is not represented in a peaceful way, showing the corpse's passage to eternal life, but is presented in an exacerbated and dramatic way, with a skeleton whose skull has a gesture of terror with its mouth wide open. The body, which is turned so that the viewer can contemplate it more easily, is infested with maggots that crawl all over the bone, coiling around them, even on the face. The presence of the worms, as devourers of flesh, warns the viewer about the temporality of life and of his body as matter, thus delivering a reflection related to eternity and the correct way of life with which the faithful can attain glory.
This completely detailed sculptural work, both in the conception of the skeleton and the coffin that preserves it, is part of the genre of vanities, which was so important during the Baroque period. The transience of life was one of the themes that most preoccupied Baroque artists. Vanities denounced the relativity of knowledge and the vanity of the human race subject to the passage of time and death. This genre was particularly popular during the Baroque period, and its title and conception are related to a passage from Ecclesiastes: "vanitas vanitatum omnia vanitas" ("vanity of vanities, all is vanity"). In the 17th century, these moralising still lifes became very frequent as an indispensable complement to preaching and devotion in Europe, in forms and with slightly different intentions in Catholic and Protestant areas.
"Vanitas".
Carved and polychrome wood. Brass, bronze and silver.
Measurements: 22 x 38 x 11,5 cm,
A sculpture is presented in the form of a coffin with the front dominated by a glass that allows the spectator to see inside. In the centre of the piece, a skeleton lies dead on a red and gold bed. Death is not represented in a peaceful way, showing the corpse's passage to eternal life, but is presented in an exacerbated and dramatic way, with a skeleton whose skull has a gesture of terror with its mouth wide open. The body, which is turned so that the viewer can contemplate it more easily, is infested with maggots that crawl all over the bone, coiling around them, even on the face. The presence of the worms, as devourers of flesh, warns the viewer about the temporality of life and of his body as matter, thus delivering a reflection related to eternity and the correct way of life with which the faithful can attain glory.
This completely detailed sculptural work, both in the conception of the skeleton and the coffin that preserves it, is part of the genre of vanities, which was so important during the Baroque period. The transience of life was one of the themes that most preoccupied Baroque artists. Vanities denounced the relativity of knowledge and the vanity of the human race subject to the passage of time and death. This genre was particularly popular during the Baroque period, and its title and conception are related to a passage from Ecclesiastes: "vanitas vanitatum omnia vanitas" ("vanity of vanities, all is vanity"). In the 17th century, these moralising still lifes became very frequent as an indispensable complement to preaching and devotion in Europe, in forms and with slightly different intentions in Catholic and Protestant areas.
9th March - Old Masters
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Calle Velázquez 7, Madrid
Carrer de Cirilo Amorós 55, Valencia
Barcelona
08009
Spain
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