Temporality and the Seventeenth-Century Dutch Portrait

Adams, Ann Jensen

doi:10.5092/jhna.2013.5.2.15

Cited by 2 publications

(1 citation statement)

References 3 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…The memento mori with the image of the skull appeared in religious representations of saints meditating or praying (Saint Jerome and Mary Magdalene) 4 as well as in secular portraits and still-life paintings. These type of secular representations created two new genres called "vanitas portraits and vanitas still-lifes", which were very popular in images of the 17th century in Dutch art (Adams, 2013;Kelly, 2006;Alpers, 1984;Segal, 1989;Chong, 1999) 5 . While the skull was the most obvious reminder of mortality in this form of vanitas portraits and still-lifes, other symbols, such as mirrors, musical instruments, butterflies, flowers and insects, or a snuffed-out candle, also testified to the omnipresence of death (Schama, 1987) 6 .…”

Section: Introductionmentioning

confidence: 99%

The Symbolism of the Skull in Vanitas: Homo Bulla Est

Cheney¹

2018

JCRS

View full text Add to dashboard Cite

In Dutch vanitas imagery of Homo bulla est there is a sad child (homo) holding a scalloped shell filled with soap and water. Although the child is amused and playing with the formation of beautiful transparent water circles, his expression is mischievous and melancholic. Blooming flowers and dead trees, burning urns, and cloudy landscapes also accompany this gloomy imagery, which alludes to a warning about moral behavior. The first part of this essay deals with a brief history about the symbolism of the skull in vanitas imagery . And the second part of the essay focuses on two prints by the Dutch artist and printmaker from Haarlem, Hendrick Goltzius (1558-1617), who honored this proverb Homo bulla est in Allegory of Transience as a remembrance of the brevity of life.

show abstract

Section: Introductionmentioning

confidence: 99%

The Symbolism of the Skull in Vanitas: Homo Bulla Est

Cheney¹

2018

JCRS

View full text Add to dashboard Cite

show abstract

Artistas y agentes diplomáticos: José Antolínez, Francisco Bergés y Cornelius Lerche

Pascual

2022

Arch. esp. arte

View full text Add to dashboard Cite

El pintor José Antolínez se relacionó con personajes influyentes del Madrid diplomático de su tiempo, como queda acreditado al recibir el encargo de retratar al embajador Cornelius Pedersen Lerche con un grupo de amigos y su hija antes de la vuelta definitiva a Dinamarca. El embajador danés en Madrid, Cornelius Pedersen, y su séquito, firmado y fechado en 1662 es único en su tipología en el siglo XVII español. Hemos documentado las primeras pinturas ejecutadas por José Antolínez, a través del primer testamento del que puede considerarse su amigo, colega y mentor, Francisco Bergés en 1652. Agente y mayordomo del embajador de Dinamarca durante dos décadas, fue el muy probable intermediario para el encargo del retrato colectivo del embajador.

show abstract

Temporality and the Seventeenth-Century Dutch Portrait

Cited by 2 publications

References 3 publications

The Symbolism of the Skull in Vanitas: Homo Bulla Est

The Symbolism of the Skull in Vanitas: Homo Bulla Est

Artistas y agentes diplomáticos: José Antolínez, Francisco Bergés y Cornelius Lerche

Contact Info

Product

Resources

About