Section one

My intentions: For my A Level Practical Portfolio I intend to look at and analyze the subject of 'Time' within in Historical Art because it can be represented in many different ways through symbolism of objects as well as the obvious passing of time through aging. Furthermore, I will aim to discover a range of different artists that successfully produce Art Work that is well known over the entire world and give interpretations of time and other hidden symbols within their Picture Frame.

Some of the Artists I may look at are: Antonio de Pereda, Hans Holbein, Harmen Steenwyck and many others that I can be inspired by and discover over my research journey.

Allegory of Vanity By Pereda, 1632

Antonio De Pereda 1611 – 1678 Antonio De Pereda was a Spanish Artist who was born in Valladolid and into a family of artists as his Father, Mother and 2 brothers were also Painters. He started his career as an Historical and Religious Painter within the Art World and was mainly based within Madrid, the Capital of Spain. He is most well known for his still life paintings and works such as “The Relief of Genoa” painted in 1635 as part of a series called “Velázquez's Surrender of Breda” for the Buen Retiro Palace.

However, his most famous painting is called “The Knight’s Dream” (also known as “The Dream Of Life”, or “Life Is A Dream”) Pereda created this masterpiece in 1650 and has the scale of 152cm x 217cm. The work depicts a 17th century man dressed in contemporary clothing for the time asleep while an angel to the left of him shows him the short lasting of the pleasures, riches, honours and glory we pride on during life. The symbols of the objects on the table are very unusual, but some stand out because of their continuous presence in all the "vanitas paintings": the skull that symbolizes death, the theatre mask about hypocrisy, jewels and money that are the riches, the weapons are war and hunting, the clock implies a passing of time, and the candle in the middle is blown out indicating the extinction of life ...

The Knight’s Dream

The Relief of Genoa

Classical hidden meanings and objects to be found within a ‘Vanitas’ Painting.

Context of the 17th Century.

There are many symbols and objects that signify different meanings within a range of different paintings. However, with Vanitas Paintings many of the same objects come up representing the same things…

The origins of the word ‘Vanity’ comes from the Italian word ‘Vanitas’. Within the world of Historical Art, such as this piece Pereda made, Vanitas carries the reminder of inevitable and fragile death for humans and hidden meanings within luxuries we ‘waste’ our time with.

In the 17th century when this piece was made, paintings were made not for a hobby but to be sold and hung to show off wealth of the buyer and to create a higher status for themselves and their family. However, also during this time there was an extreme decline in the Spanish Economy due to relying too much on selling the Merino Wool they had, which decreased in price and lost worth when newer fabrics entered the market from other Nations. There was also a lot of inequality during this time because the wealthy were excused from paying taxes, so being rich was extremely important to have and maintain else you were treated unfairly and poorly which made life a real struggle.

An Allegory of the Vanities of Human Life by Steenwyck in 1640.

Skulls = Death Blown out candle = Extinction of life Armour = War and fighting Guns = War and Power Hourglass = Time passing Opened books = Knowledge becoming worthless Gold/Money = Wealth Clock = Time Passing Portraits of different ages = Passing of time The true definition of a Vanitas Painting is “A vanitas painting contains collections of objects that are symbolic of the inevitability of death and the transience and vanity of earthly achievements and pleasures; it exhorts the viewer to consider mortality and to repent.”

New Vanitas Acedia 01 By Mark Scheider in 2013

As you can see in the two images to the left, over time the vanities of our life has changed. For example, the skull has been replaced by a computer as technology is over taking our lives. The pocket watch has been replaced by a digital clock emphasising our dependence on new devices.

Allegory of Vanity by Pereda, 1632, 139.5cm x 174cm, Oil on Canvas The overall atmosphere of this painting is at first calm and almost serene with a heavenly angel gazing out at the viewer. Yet, the more you look at it and the more you notice the details the more unnerving it becomes to look at. You first notice the skulls which immediately evokes thoughts of death and then as your eyes move along to the luxurious items on the red box and it creates a strong contrast between life and death.

The angel in the midground of the painting leaning toward the left, tilts her head to the right and stares out creating direct eye contact to the viewer making it seem more unsettling and like she is addressing them to what she is trying to say. As this is clearly a Vanity painting, as stated in the title but also emphasised by the symbolisms, the use of an angel also creates a sense of death and ending of life because it’s a direct link to Heaven.

She is pale and young looking which almost makes her look attractive if it wasn’t for the piercing eyes and slightly raised eyebrow making it feel like she is questioning the viewer. Her wings are a warm brown colour highlighted from an unknown light source which also makes her stand out from the extremely dark background creating the effect of Chiaroscuro – the effect of contrasting light and shadow.

Perhaps by using the repeated symbolism of skulls in the painting, Pereda wanted to emphasise the inevitability of death for us and maybe wanted to suggest that we are all vain in what we do during our life because it all becomes worthless as it all gets forgotten in the end. This is then emphasised by the use of the burnt out candle, even though the stick itself is mainly complete. It implies that time and life can end whenever it wants to, whether you’re young with a complete life ahead of you, or fighting in a war – reflecting the gun also depicted in the image. More symbolism of time are shown such as the hourglass with the sand all at the bottom suggesting that time has run out and the clock also emphasising the theme of time and impending death creeping up one tick at a time.

Pereda also depicts armour and a gun with in this painting which often suggest war and power. However, as this is a Vanity painting it could imply that during our life we fight for Power and have Wars over things that soon become pointless because we will no longer have 'pride' over what we did once we die.

Pereda also depicts an array of portraits of people of different ages which also shows passing of time and different stages of life.

There are many more symbols within this painting with the themes of vanity and time. For example, the opened books. When they were first purchased they would have been highly valuable for the knowledge they would've with held. Yet now that they have been opened, as you can tell by the spine of the books and the string being undone makes them worthless and invaluable. It shows that over time books decrease in their value and we bought them in vain for knowledge and a wealthy status but they mean nothing after death and go to waste.

The angel in her left hand holds a portrait of who is expected to be Emperor Charles V, also known as The Holy Roman Emperor.

He ruled the Spanish Empire from 1516, The Holy Roman Empire from 1519 and the lands of the former Duchy of Burgundy from 1506.

The angel also points with their right hand to the Globe, placed under the portrait, which is also expected to symbolise or allude to the domination of The Casa De Austria which further implies that this painting would have had a court Commissioner.

Many artists that create Vanitas paintings liked to keep the lighting natural and realistic. Yet Pereda has not conformed to this and not created a background as such but a black screen to emphasise the objects and figures in the foreground that he has painted with extreme detail.

This allows us to discover their meanings but also adds to the mood of loneliness and isolation.

Furthermore, Pereda hasn't painted shadows which makes the painting seem eerie and death like.

The painting has a limited colour palette of ochres colours and hints of colour of blues and reds. The extra hints of colour make them stand out more and create a slight diversity through out the image being shown.

The items that are being shown are usually considered luxurious and associated with the wealthy, however, from the repeated colours they are made up from, ochre, suggests that they are menial and pointless to have in life and that we are vain for having them to show off our status as they're not needed once we die.

The way in which that Pereda has painted objects on the edge of the red luxurious box is also another symbolism that something is not right and something bad is going on. This increases the inevitability of death and the way that were take things we don't need during our life.

To carry on my research into Vanitas and Time will carry on my research into the Dutch Golden Age.

Bibliography: http://laurathomsonart.weebly.com/uploads/5/0/3/9/50394073/student5comparativestudy.pdf http://www.widewalls.ch/allegory-in-art-allegorical-paintings-history/ http://www.tokyoartbeat.com/tablog/entries.en/2008/09/life-is-sweet.html

https://www.the-athenaeum.org/art/list.php?m=a&s=tu&aid=6285 https://en.wikipedia.org/wiki/Antonio_de_Pereda https://www.google.com/culturalinstitute/beta/asset/allegory-of-vanity/2AEBd_YfJdcAvg https://www.artyfactory.com/art_appreciation/still_life/harmen_steenwyck.htm https://www.pinterest.co.uk/pin/334392341054677540/

Allegory Of Vanitas By Steenwyck, 1640.

Harmen Steenwyck 1612 – 1656 Steenwyck was born in Delft and was born as the brother of Pieter Steenwyck who was also a still-life painter. Their father, Evert Steenwyck, sent them to learn the skills of painting and the correct ways to produce Art from their Uncle, David Bailly in Leiden.

Harmen became extremely active as a painter in Leiden between 1628 and 1633, however, he moved back to Delft 1633 and lived there until the day that he died. During the year of 1636 he joined the Guild of Saint Luke in Delft, which then enabled him to take on students to teach and educate about Art. During the years in 1654-1655 he made a trip to the Dutch East Indies for a year and then returned to Delft for his remaining years. Steenwyck is best known for his Painting called ‘An Allegory of the Vanities of Human Life’ which is safely kept in the National Gallery, London and also simply called ‘Vanitas’.

However, he has many other famous pieces of Art work such as ‘Vanitas Still Life’. This painting is very similar to that of ‘Vanitas’ but it does not have the complexities of his later Art work. Although the date of the painting is not known it is implied that it was made years before ‘Vanitas’ because of the similar composition yet lack of tonal lighting and modelling in the scene created. It depict the common symbolisms in a Vanitas painting with their Allegorical meanings such as the skull providing us with thoughts of death, the sword and armour to suggest war, fighting and power gained in life. The opened books that are now worthless. The instruments signifying brief and quick ending beauty in music. And an empty hourglass showing us that our time will end.

Vanitas Still Life The image is clear in what it is trying to convey and does have some lighting that can be seen on subtly highlighting the objects that create unease by being placed on the edge of the table. However, the use of light and tone in this earlier painting of Steenwyck’s is not, in my opinion, quite as refined or dramatic. Although it does make me think of death I feel that it doesn’t ‘speak’ it as loud.

Context of the 17th Century.

The first half of the 17th Century Dutch Golden Age is recognised and 'characterized' by the Eighty Year War. This War was for Dutch Independence and it started in 1568 and didn't end until 1648.

The reason for the out break of this awfully long War was that the Dutch Republic became increasingly aggravated and discontented with Habsburg rule - one of the Royal House Members of Europe and the family was often in rule of the Holy Roman Empire after Charles died. A major cause of this uproar of the public was the heavy taxation forced on to the population within The Netherlands, or as we now call it Holland. Even though there was support and guidance from the government it was obstructed and hindered from the over whelming size of the Habsburg empire.

The divisions within the Dutch lands - known as the Dutch Provinces - were criticised for performing acts without permission from the throne. However, it was useless for them to ask permission because requests would take the minimum of four weeks to reply. To make things worse the presence of Spanish troops under the command of the Duke of Alba, brought in to oversee order of the Public further amplified the already uneasy public of Holland. It is within this context that allegorical still life painting became popular.

Relief of Leiden by the Geuzen on flatbottomed boats by Otto Van Veen in 1574

An Allegory of the Vanities of Human Life by Steenwyck, 1640, 39.2cm x 50.7 cm, Oil on Oak Steenwyck uses very impressive techniques within his painting to give this Still Life a vivid sense of realism. He uses small brushes and strokes as he paints the image on Oak panel. The panel was first primed and sanded to form a smooth surface similar to the patina of glass. He then built up the image by using thin glazes of oil paint which allowed him to manage to realistically convey the wide range of textures and tonal modelling on each of the objects. For example the curves of the shell, the translucency of skull bone, the smoothness and shine of silk in the light, and the roughness and also gloss of the wooden surfaces such as the table.

The composition of the objects on the table form contrasts with different texture but are then unified because of the limited colour palette Steenwyck has selected. These restrained colours have been chosen because the arrangement of objects is quite complex with the textures and hidden allegorical meanings to use a more bold colour palette. However, I feel that the colours chosen work really well because they look realistic and are then emphasised by the raking lighting he uses coming from the left. The subtle raking light Steenwyck uses adds a sense of drama by highlighting each object with exaggerated tone and creating Chiaroscuro in the image. This also makes it more powerful as they each object displayed stand out even more.

The objects in this painting masterly created by Steenwyck have been very carefully chosen to communicate the 'Vanitas' message which has been summarized in one of the Gospels. More specifically, The Gospel of Matthew 6:18-21: “Do not store up for yourselves treasures on earth, where moth and rust destroy, and where thieves break in and steal. But store up for yourselves treasures in heaven, where moth and rust do not destroy, and where thieves do not break in and steal. For where your treasure is, there your heart will be also."

When you look at the painting your eye is immediately drawn to the skull placed in the centre and focal point of the work. As most skulls represent in Vanitas paintings it is the universal symbolism of death. Unlike his earlier work, this skull is placed more prominently toward the front and in front of all other objects. Steenwyck has been extremely clever in the way that he applies his glazes of oil paint because he has managed to create a sense of smooth texture of the bone and the shine that reflects off it in the light. Furthermore, the skull is facing slightly toward the viewer, not directly, but enough it make it increase the sense of unease and uncertainty. Because it is the most noticeable, at first, of all the objects portrayed it makes me think that Steenwyck wanted to make the audience aware of death is inevitable for everyone, no matter your status, wealth, or knowledge.

The pocket watch which is also called 'Chronometer' and the gold oil lamp which has just been extinguished allowing smoke to rise up into the air resembles the marking of our life once being alive and present but then as time has gone by we have been extinguished and have died.

The highly polished Turbinidae Shell is a specimen that is usually found within South East Asia. It is normally considered to resemble wealth of the owner because only a rich collector would be able to afford such a rare object from a extremely distant land. Shells in Art are also traditionally used to symbolise birth and fertility - such as the painting 'Birth of Venus' by Botticelli in 1486. The 'Birth' is shown within a shell. However, as this is a vanitas painting the use of a shell implies the wealth of a collector, who's money and belonging will soon go to waste after death. I also feel though that it shows an emptiness like our bodies after death because of the way that this shell would've been a home to a sea creature at some point but is now empty and of no use.

The books placed to the right of the skull is the representation of the range of human knowledge we gather in life. However, they are opened books which show that they are now worthless and have decreased in value. This tells the viewers that we gather all these thing in vain during our short lives as in the end they all go to waste. While the musical instruments placed just behind the books and the skull suggest the pleasures of the senses we have in life and take for granted. Both are seen as luxuries and indulgences and in the end pointless.

Birth of Venus by Botticelli in 1486

The stoneware jar on the right just above the skull probably contained water or oil; both are symbolic of sustaining life.

However, over the years the oil paint glazes have started to go transparent. If you look close you can see that it is starting to reveal the bust of a Roman Emperor. This shows a change in composition that Steenwyck made during painting. It is suggested and The purple/pink silk cloth placed towards the implied the change of object was back of the cluster of objects is an example of because the bust would've been far too The composition also amplifies symbolic meaning physical luxury. Silk is known to be one of the because you can see how Steenwyck has used the complex and dramatic to be placed most expensive and luxurious all the materials. diagonals of the painting to construct its within a Vanitas painting because Furthermore, by depicting it in this particular it detracted from the importance of the arrangement. The objects that have the easiest shade it emphasise wealth and indulgence meanings to decipher represent the 'Vanities of skull as the painting's focal point. because it was the most expensive colour dye Human Life' and fill the lower half of the work which during the 17th century. is split by a diagonal. The spaciousness and absence of The Japanese Samurai Sword is elegantly wrapped objects in the upper half represents spiritual within the silk material at the back of the existence. This empty space allows us to put our painting. It represents the Wars we have for beliefs and ideas into what it means. Within the space Power, which links into the context of this a beam of light descends from the opposite angle painting - The 80 year War. But it also represents creating the dramatic and theatrical tones in the work Superior Craftsmanship which implies the 'need' and could possible symbolise a link between human in life for beautiful looking objects. These razor life and the next? This raking light also highlights the edged swords, which were handcrafted to important skull and also counterbalances the perfection by skilled artisans, so they were both triangular arrangement of objects on the table in the beautiful and deadly weapons. lower section of the work.

Bibliography: https://www.artyfactory.com/art_appreciation/still_life/harmen_steenwyck.htm https://en.wikipedia.org/wiki/Harmen_Steenwijck

https://assortedscribbles.wordpress.com/2013/10/01/piece-of-the-week-still-life-an-allegory-of-the-vanities-ofhuman-life/ http://www.nationalgallery.org.uk/paintings/harmen-steenwyck-still-life-an-allegory-of-the-vanities-of-humanlife http://www.artnet.com/artists/harmen-steenwyck/vanitas-still-life-Bt-beW_6lUrK5ZsghRrzZQ2 https://en.wikipedia.org/wiki/Eighty_Years%27_War http://www.visual-arts-cork.com/old-masters/harmen-van-steenwyck.htm https://en.wikipedia.org/wiki/Dutch_Golden_Age

Still life with Food and Drink

by Heda, 1631

Willem Heda Willem Claeszoon Heda was a Dutch Golden Age Still Life Artist from the city of Haarlem in The Netherlands and is best known for his interests in the 'Ontbift', meaning the Breakfast Piece. He is the son of Claes Pietersz, Haarlem Cities Architect, and is the Nephew of Cornelis Claesz Heda, a Painter. His skills were recognized early in his career by some important people, such as Samuel Ampzing, The Dutch Minister and Poet. Furthermore, Heda won enough local fame for Ampzing to praise him along side Salomon de Bray and Pieter Claesz, in his 1628 Beschryvinge ende lof der stad Haerlem in Holland. "I have to praise Heda with the banquet pieces of Solomon de bray and Pieter Claesz, their skill deserves to be mentioned..." Because of the support from Samuel Ampzing, Heda soon became a member of the Haarlem Guild of Saint Luke and was a very active member.

In his later works he became more refined when painting as they contain perfectly draped fabrics with an arrange of posh and fine glass as well as including metal wares and precisely presented food. These paintings are characterized by a kind of simplicity and the colours as well as the illustration of light in his work made from fine additive brush strokes, resulting in an almost unbelievable level of realism. In his the later work his style became influenced by “firm construction built up on broad lines." He include crinkled napkins or knocked-over vases to enhance the realism. However, this new way of painting challenged Heda to maintain his order in a disordered environment. He also experimented with compositions and colour palettes, leading him to using more fruit to combine with the crinkled napkins from previous works.

Heda died at the start of the 1680's and his renewed popularity at the end of the 19th century resulted in the wide spread of his pieces throughout the World. His works are now in some of the World's most Famous Museums such as The Rijks Museum in Amsterdam; The Metropolitan Of Art in New York; The Louvre in Paris; The National Gallery in London; The National Gallery of Art in Washington in D.C; The Kunsthistorishes Museum in Austria; and The Hermiatge in St. Petersburg.

Heda has been named one of the Dutch Masters Of Art and and Still Life. He even had his own pupils including Maerten Boelemoa de Stomme, Gerret Willemsz, Hendrick Heerschop and, Arnold van Beresteijn.

The Breakfast, 1629 Still Life with a Gilt Goblet, 1635

Context of the 17th Century Lemons in this time was a representation of life and time passing because the outside looks very similar to Oranges which are sweet making us assume that Lemons would be the same. However, when you bite or suck a Lemon the taste received is very bitter and sour just like life.

Furthermore, the flavour contrasting with the appearance makes it also come across as very deceiving which again represents life because of the way that we believe that life is good and sweet but at the end of the day you realize we die in the end. It's bitter sweet. When the fruit shown is also half peeled and hanging on the edge, drying out, it shows time passing because of the freshness leaving the food and then starting to rot and die. Still life began in the Netherlands during the 17th - 18th centuries. Early Still life contained religious and allegorical symbolisms that related to the objects the artists depicted. More modern Still life work breaks the 2D barrier and encourages the 3D mixed media, found objects, photography, and computer graphics. The genre first included the painting of dead animals, especially game (chickens, pigeons, ect). Live animals/game were considered Animal Art even though in practice they were often painted from dead models. The Genre also shares links with Zoological and Botanical Illustration, and there have been overlaps amongst Artist Work.

Still life often has a fully detailed background but the genre was considered as one of the lowest genres but also soon became very popular. As well as the single and independent Still life subject, the painting can contain other types of painting but with prominent Still life elements which are usually symbolic. No other country has in just over a hundred years had so many paintings created during the 17th century as Holland. It has been guessed that between the 17th and 18th century more than 5 million paintings were made. However, there could have been even more due to the fact that many paintings and Art works have been lost or destroyed over the years. These Still life paintings were only for the family home or the 'indulgent' because The Churches in Dutch towns would not have any Art Work and were content with bare whitewashed plastered walls, with plain, stark spaces, and no decoration to distract them from their religious values. Yet, inscriptions and coats of arms were sometimes used for memorials and the occasional Art would decorate the balustrades of the galleries, but everything else was strictly imageless. This is still used to this day within the Churches of Holland/Netherlands.

Still life with Musical Instruments by Pieter Claesz, 1623

Still Life by Willem Claeszoon Heda, 1657

Still Life with food and drink by Heda, 1631, 52.5cm x 73cm, Oil on Canvas The image depicted shows a lay out of food and drink, as described in the title, on a simple and dark table. At first glance the painting has a atmosphere of elegance and indulgence which is then only emphasized when the true meanings and symbolisms of the objects are realized.

Heda also used oil paint as his media to create this master piece which enabled him to use glazes of paint to form more detail through tonal modelling and texture. There is a lot of varying textures within this image which creates a sense of emphasized realism. For example, the smoothness of the metal plate, the crinkles in the table cloth, the skin of the lemon and the mince meat/pastry from the pie located near the back of the table. These all contrast and compliment each other as they are so different to one another but make the scene created seem more real and life like. The artist has used a simple colour palette to form this painting because he uses many shades of greens – mostly dark – browns and ochres. By using these colours it makes the Art work seem almost chromatic and blend well together. However, these colours then also allow the lemon, at the front of the image, to stand out from everything else as it is show in a bright and vivid yellow that is very different from the other colours used and makes it the focal point of the painting.

Although most Vanitas and Ontbift Paintings have fully detailed backgrounds, Heda has chosen to give this one a plain and kind of mute backdrop in a brown colour. He has, however, used the oil paint to his advantage to show highlighting and shadows on the back wall. By creating a plain surface it allows the objects on the table to become the main focus for the viewer and allows us to look into more detail at what he is showing us. It stops us from being distracted by other details and depictions that would've gone on in the background.

In the image at the back of the table on the right we can see a half eaten mincemeat pie. This item of food has lots of texture painted into it making the food seem extremely real because of the way you can see the detail in the folds and bends of the pastry crust and then the shine and almost 'sticky-ness' of the mincemeat falling out of the opening. Heda has used this food in his painting not only for the texture and obvious symbolism of wealth and status, but also because in the end the pie will soon decay and rot away leading to it's ultimate disposal. This also showing how our life will be after time passing us by and to death... Rotting and disposal.

To the right of the pie on the table there is also a pocket watch painted to again show the passing of time. It has been suggested that clocks and watches directly symbolize human lives because of the way that their ticking is like our hearts beating and only stop when their battery dies – we stop when we die... Furthermore, the face of clocks and watches are divided into section like our lives too – fetus, baby, toddler, child, teen, adult, elderly ect – and the way that the hands are constantly moving show that nothing is ever permanent, like our lives again. Clocks and watches are a very good object to use in paintings such as this one, for Vanitas paintings, because they in so many ways reflect the human life and passing of time that inevitably lead to our demise.

Also on the table you can see a knife. As always, knives are very dangerous with their sharp cutting blades, however, this one that Heda has created hangs over the end of the table making it seem even more unnerving and unsettling. Often, when objects hang over the edge of a table and are precariously placed it is to send a message to the viewer that something strange is going on and is to give a sense of an uneasy atmosphere. The knife can symbolize many things such as danger, or war and military which suggest that we fight for so many things during our lives only to then loose them once we die. We fight for them in vain. However, using this object could also imply that our lives can be stuck and cut away from us with one quick cut and we would be no more.

On the left of the painting there is an upturned Tazza, "a shallow ornamental wine cup mounted on a foot." Which is originally from Italy and was used to serve drinks, small foods or just for decoration and display. Only those of wealth could afford these due to the intricate detail of them and the materials they were made of – metal, glass or ceramics were the most common but in Hellenistic Egyptian times they were made from Sardonyx Agate, a red stone with horizontal lines of white, this stone was associated with courage and strength so was often used.

The Tazza in this image though is made from a metal substance that can reflect the light of an unseen light source and is then again emphasized by the reflection shown on the food plate as well just to the right of it – with the lemon placed on top of it.

Toward the back of the painting there is a Glass Rรถmer Goblet often found in Germany, meaning "A Wine Glass with a green stem that looks coiled, topped with a clear bowl. Often the bowl is etched with vines and grapes, sometimes rimmed with gold..." This type of Wine Glass symbolizes the Romans as it was created as a tribute to them because they were the ones who created and brought wine into society. However, in this painting by Heda the wine contains bubbles in creating reflections and more dimension. The use of repeated reflection in the painting could be to make us as viewers reflect on our own lives and the way that we are living it and if we are taking too many things for granted and being far too vain. The drink in the cup is also half empty showing the slow disappearance of the alcoholic beverage and symbolizing our lives. As time passes us by we as slowly getting closer to death and slowly disappearing.

The most prominent object in the whole of this painting though is the lemon placed at the very front of the table. It is half peeled with its skin hanging over the edge of the table increasing the sense of unease already formed from the knife. But the use of lemons in paintings had much deeper meanings than at first glance. In early times lemons were a very expensive food and were very popular to use in paintings, particularly when it was partially peeled. This is because the artists could delve into detail with the play of light hitting the translucent flesh, and creating the lumps and bumps of the skin on the brightly coloured exterior. Yet, lemons also have a lot of symbolism within Vanitas paintings such as this one Heda created because they look sweet and tasteful yet when eating them they are extremely sour and bitter. Therefore the use of lemons in paintings symbolizes the deception and alluring attraction of colourful and earthly beauty. The fruit in this painting is peeled to reveal it's 'true self' but has stated to dry out and decay like our bodies will over time and after death.

The lemon was also a very popular fruit to own in the 17th Century and was often painted in partnership with wine because of the sour tasting fruit was used in the alcoholic drink to make it taste better and enhance the flavours.

Bibliography: https://mydailyartdisplay.wordpress.com/2011/02/11/still-life-of-food-and-drink-by-willem-claeszheda/ https://en.wikipedia.org/wiki/Willem_Claesz._Heda https://www.britannica.com/biography/Willem-Claeszoon-Heda http://www.easy-oil-painting-techniques.org/still-life-symbolism.html http://germangirlinamerica.com/romer-glass-green-stemmed-german-wine-glasses/

https://en.wikipedia.org/wiki/Siege_of_Leiden http://blog.mearto.com/2016/08/11/decoding-the-hidden-meanings-in-still-life-painting/

Still life with a Mask

by Andriessen, 1650-55

Hendrick Andriessen 1607 - 1655 He was born in Antwerp and died in Zeeland. He was a Flemish Baroque style painter as was given the nickname ‘Crippled Hein’ even though his still-life paintings were highly admired and regarded and weren't ‘crippled’ in any way. Why he was given this name is unknown…

During 1637, at the age of 30, he joined the Guild of St. Luke in Antwerp. This Guild was a common name given to a city or group of painters and artists in Early Modern Europe, and especially within ‘Low Countries’. The title given was named in honour of the Evangelist Luke, who was the patron Saint of artists, who was said to have painted the Virgin Mary’s Portrait by John of Damascus Hendrick is known mainly as a still-life painter, and mainly appears to paint still life of the Vanitas. Furthermore, many paintings previously said to be Pieter van der Willigen have recently been reassigned to Andriessen.

The majority of the time his works are oil paintings on a canvas.

Hendrick is most well known for his Vanitas painting called ‘Vanitas Quiet Life’ – image to the right. It has a lot of symbolism and allegorical meanings within the small scaled painting. For example, the tradition and most commonly used, the skull. It reminds the viewer of the painting that no There is also a crown depicted in the painting show luxuries and matter what we do in life we will all end up dead and nothing we did it life riches that will become nothing and pointless when out mortal will mean anything as it will be forgotten. This is then emphasised by the life is up. candelabra with no candle in, emphasising how our life can be distinguished in moments. There’s an open watch indicating time running out and time It is believed that the painting is reference with deep allegorical passing for us as humans and bubbles that also symbolise life – they can pop meanings to the death of King Charles I who died by decapitation. at any moment and die and fade away. There’s a large globe toward the back This is because of the skull wearing what looks like a crown made of objects, taking up a large proportion on the image. This shows the travel of dead twigs that faces directly to the viewer, creating an uneasy and knowledge we all want to have in out lives. The leaves and flowers will atmosphere. Furthermore, the crown and sceptre, and other all die over time as well. related objects showing riches and high status.

Context of 17th Century Holland Still Life first appeared in Italy during the 1600’s to be able to show the artists skill and to show a symbolic meanings. Making paintings with meanings were extremely popular in Holland (or Netherlands as it was once called.)

17th Century Holland was the most advanced in the world for trade, art and science. They would often use their new scientific discoveries to influence their art works. Due to this their subject matters became much more ‘fresh’ new and varied.

Even though Still Life was considered a low ranking genre of painting it became very popular and more than 5 million were made, commissioned and sold to the wealthy middle class, in small sizes to be displayed in homes and not in big churches. This is because the Churches liked to have white washed walls to symbolise their purity.

This style of painting, where the artist confronts the viewers with the Vanity we possess in life, soon becoming pointless and worthless after death, became very popular among society. It soon became as popular as the Mythological paintings previously desired before them.

They were especially popular within the French Salon Exhibition in the beginning of the 1700’s.

Abraham Van Beyeren. Still Life, 1670

Klaus Boekhoff, Still Life, 2012

Still life with a mask by Hendrick Andriessen, 1650-55, 48cm x 43cm, Oil on Canvas The atmosphere of this painting is quite dark and gloomy because of the many unusual objects collected together and placed almost carelessly on to a table half covered in a dark black cloth. Many objects you can see immediately bring thoughts of death to the mind. Furthermore there is a sense of unease and an unsettling atmosphere within the painting because of the way that the artist has formed all the objects on the edge on a table, almost like they’ll fall off. When this is designed within a painting the artist is trying to convey to the viewers that something is not quite right, which is logical and well known to be used in a Vanitas painting.

One aspect that eye immediately is drawn to is the skull. It is dramatically highlighted by an unknown light source and seems to almost be in a spot light because of the bright shine bouncing from the soft, smooth patina of the surface. To me, the way that the skull is facing away from the viewer, almost like it’s trying to hide away, suggesting that we as humans are vain in the way that we feel death might never arrive for us and try to avoid all thoughts of all of our impending doom. However, Hendrick confronts us with our fear of death by showing a skull right in the centre of the painting.

This is a Vanitas painting meaning the artist has hidden symbolism of a Memento Mori in a allegorical way, meaning that the image created gives the viewer the constant reminder of impending death and reminds us of the objects we use in vain during our lives that will then become worthless when we die. Andriessen depicts multiple symbols within the image. For example, the globe toward the back of the cluster of objects placed precariously on the table showing the knowledge we all desire to have whilst alive. It is one of the largest objects on the table which implies to me that Hendrick was implying that during our lives we aim to accumulate as much information and knowledge as we can to then only be reminded by the skull that we will all die and it will be worthless.

There is also a watch placed on the very end of the table corner on the left, just in front of a knocked over candelabra with smoke rising from tobacco.

This little collation of objects create an huge emphasis on the impending doom we will all succumb to. This is because of the watch showing our time on Earth ticking away and the candelabra knocked over with no use as the stick has disappeared – almost like our soul leaving behind a useless body with no purpose? Yet this is all again shown through the large skull painted at the very front of the table in the centre.

The books are open which show their worthlessness as they have decreased in value. When they were first bought they would’ve been more expensive, but they’ve been opened and used which decreases their value.

Furthermore, they become even more worthless after death because all the knowledge gathered and learned from them will be forgotten and all used in vain in the end.

Hendrick also includes musical instruments in this Vanity painting such as a Violin. The violin implies that life is short like the music the instrument plays because it can be beautiful yet brief and quickly over with. There is also money and precious jewels suggesting the vanities we take in life, indulging into expensive things to make us appear to have a better status and higher classing than we do, simply to not be judge as much and to ‘feel better’ about ourselves…

The fading flowers, gradually dying, placed on the left of the image just behind the large Golden Cup shows, yet again, another symbolism of the passing time in our lives and how we will die sooner than we expect. It shows that life can be beautiful for a while but it has to die and end at some point.

The golden cup toward the front of the table is extremely visible and stands out a lot more to the rest of the objects because of the shine reflecting on and off it from the unseen light source that rakes across the image. It again, emphasizes the luxury and riches we provide ourselves with during our lives even though we don’t need them. It also has a solider placed on the top holding what looks like a spear or sword toward the sky in his right arm. I feel this symbolizes human hunger and need for worldly power through fighting and war. To me it also implies strength.

Hendrick was also interested in, and liked to play around with the use of light on a smooth surface, such as this one which is oil on canvas. One way he experiments with light in this painting is in the background. He uses bubbles that shine and reflect the light from a source that cannot be seen within the picture frame, this also creating a sense of space outside of the frame. These also create beauty within the image as bubbles form round, floating spheres that glide in the air elegantly and delicately. However, they also represent life because if the smallest thing that touches or harms them they pop and burst just like our life can. Gone. Poof. Dead.

One of the most interesting things, to me, that Andriessen has shown in this piece of art, however, is the mask, placed on the left of the skull. This is not a traditional object to be shown in a Vanitas painting, yet, it symbolises deceit and lies, covering up all negative traits with a false cover up creating a mask over ourselves. Furthermore, there is a laurel wreath which means honour and victory but it is being covered up by the mask which to me implies that we take vanity to a new level during our lifetimes and deceive many people and almost ‘wear a mask’ to pretend were something that were not to get better praise and honour from the others that surround us. We falsely take praise of honour.

There are many paintings around the subject of Time that also contain many symbolisms as this one does, so I therefore intend to further my research by looking and analysing some of these.

Bibliography: http://www.the-athenaeum.org/art/detail.php?ID=181310 https://en.wikipedia.org/wiki/Hendrick_Andriessen https://www.the-athenaeum.org/art/list.php?m=a&s=tu&aid=8352 https://artmuseum.mtholyoke.edu/object/vanitas-still-life https://en.wikipedia.org/wiki/Dutch_Golden_Age https://app.cuseum.com/art/hendrick-andriessen-vanitas-still-life https://en.wikipedia.org/wiki/Still_life http://www.essentialvermeer.com/dutch-painters/dutch_art/ecnmcs_dtchart.html#.Wcqv2ciGPIU https://www.redbubble.com/people/klausboekhoff/works/3724451-still-life-ii?p=poster

The Ambassadors by Holbein, 1533

Hans Holbein 1497 - 1543

Kaisheim Altar

Holbein is a German, Swiss artist and printmaker during the 16th Century and was often hired

by Henry VIII for paintings and Art work. He soon became known as 'Hans Holbein the Younger' as he was born to a Father who was also a famous painter who created 'St. Sebastian Altar' and 'Kaisheim Altar' and was given the nickname to distinguish between the two of them.

Other than his works for the King he also produced Religious Art and Reformation Propaganda, and made a contribution to the History of Book Design. Holbein was born in Augsburg, Germany.

However, he mainly worked Basel, Switzerland, as a young artist. He started by painting Murals, Religious Works and created designs for stained glass windows and printed books. He sometimes painted portraits which allowed him to make his international mark when he did the portraits of people like The Humanist Desiderius Erasmus of Rotterdam, a Classical Scholar who only ever wrote in Latin. During the reformation period of time he worked for those involved whilst continuing with his Religious Patrons. His style of painting was influenced by the Late Gothic style from Italy, France and the Netherlands resulting in a style of painting that was uniquely his own.

In 1526 Holbein travelled to England for work with a recommendation from Erasmus. Thomas More, a English Lawyer and Catholic, welcomed him into the Humanist Circle and Holbein quickly built a respectful reputation. During 1534 his work was then under the patronage of Anne Boleyn, second wife to Henry VIII, and Thomas Cromwell, 1st Earl of Essex.

From 1535, he was King's Painter producing portraits and festive decorations. His portraits were recognized for their likeness and have been able bring many famous figures, such as The King and Thomas More to life. However, Holbein was never content, with outward appearance and so he added symbolisms and allusions to his art.

St. Sebastian Altar

Context of the 16th Century

Catholics:

Holbein has been described as a "Great One-off" as an artist in History simply because he founded no School of Art. However, many believe him to be one of the greatest Artists to have walked the Earth.

The year that this painting was made was also the year that King Henry VIII's wife Anne Boleyn gave birth to his second child, Elizabeth I, as well as being the year that the Reformation of the Church occurred.

The Reformation of the Church simply means that the Church was Reforming during in 16th Century. A monk called Martin Luther, who was from Germany, nailed a protest to a church door because he became increasingly frustrated with Clergy allowing people to repent their sins by selling their indulgences. He believe that you could only recover from your sins by having a good and honest faith in God and he therefore went against many of the Catholic beliefs and teachings. He started to form a Protest... The Guttenburg Printing Press was also made during this year which allowed books and words to be made much quicker.

This not only allowed the Bible to be written in many different languages other than Latin but allowed Luther's Protest to be quickly spread through out Europe. Because of the protesting against the Catholic Faith Luther had managed to separate the Christian Religion into two separate beliefs: The Catholic and The Protestants.

Used paintings and Art Works for inspirations with in their Churches, Chapels and Cathedrals as this was their main place of Worship. They Originally came from The Roman Empire and are under the Authority of the Pope. Catholics are most prominent within Italy, The Philippines, Latin America, France and Spain with a population of around 1.2 Billion. All Catholics believe that it is the only true Religion to follow and that all others are completely and utterly false.

Portrait of Mary Tudor By Antonio Moro in 1554.

Catholic Portrait of Elizabeth Tudor By An Unknown Artist in 1585/6.

Protestant Protestants: They do not use paintings or any Art work and often burned or destroyed the Arts that Catholics enjoyed and had. Like the Catholics they worship in Churches, Chapels and Cathedrals. However, part of the Religion came from Rome as both Catholic and Protestants believe in many of the same thing, they also originated from Germany because of the protesting from Martin Luther. They are mainly located in North America and Europe and have around 590 Millions followers of the Religion. All Protestants believe that Jesus died to save us from all of our sins and that we can save ourselves by Faith and not through work, like the Catholics. Any Religion that denies this is false but any that confirm it is considered to be a true Religion also.

The Ambassadors by Holbein, 1533, 207cm x 209.5cm, Oil on Oak

This picture memorializes two very wealthy, educated and powerful men during the 16th Century. The left figure in the painting is Jean de Dinteville, aged 29, who was the French ambassador to England during 1533. However, the right figure is Georges De Selve, aged 25, who was Bishop of Lavaur. He acted a few times as the Ambassador to The Emperor, The Venetian Republic and The Holy See. The painting depicts a traditional image of two well educated men with books and instruments surrounding them, creating a Double Portrait and Still life with in a single fame. Not only this though but Holbein has been extremely clever and formed Anamorphosis as well. The objects on the upper shelf include a celestial globe, a portable sundial, various other instruments used for understanding the heavens and measuring time. As well as objects on the lower shelf such as a lute, a case of flutes, a hymn book, a book of arithmetic and a terrestrial globe.

The overall atmosphere of this painting by Holbein is, at first, seeming to glorify mans achievements and show off the wealth and pleasures in life. However, once you look closer you can see it becomes more grisly and dark because of the distorted image of the skull painted at the bottom, which at the right angle can be seen clearly and haunt the image with a sense of lingering death within the age of discovery.

The two figures shown are symbolic in their own right. De Dinteville, on the left, has been dressed in a luxurious set of secular clothes consisting of a heavy black coat lined with lynx-fur over a pink silk tunic. Both these items were considered only for the wealthy as they were both very expensive to have fur and silk, especially in this colour as it was associated with nobility and royalty. It is said that on his hat there is an image of a skull - his personal emblem - which is most likely intended to be a memento mori as well. He stands in a very strong and confident way with his left arm resting on the table behind him. To further emphasize his authority and confidence he makes direct eye contact with the viewer also creating a little sense of unease and confrontation.

The Bishop Georges de Selve is dressed in less extravagant clerical clothes yet still imply luxury because of the fur that lines the collar. As well as this his stance is shown as less assertive and he occupies a lot less space in the picture frame. He has a much more closed position to that of the other figure. Although he rests his right arm on the table, similar to the other he stands with, his hand is drawn closer to his chest and his left arm is crossed over his body and holding his coat over himself. He stands further back in the image depicted and takes up less space making him appear less assertive and have a smaller input within in the battle between the two religions. His dark clothes could also, possibly, symbolize the dark times ahead because of the fighting and conflict between the churches and religions.

Holbein has depicted an Anamorphic Skull on the bottom of the painting which stretches over the floor that had been inspired by the Cosmati Pavement in Westminster Abbey. He has deliberately distorted the image so that its true form and meaning becomes evident and understood when it is viewed from a high angle on the right or a low angle on left. In these positions the Anamorphic image is immediately recognized as a human skull, and a large one, to give us the reminder of impending death and ephemeral nature of human values. It is very unclear why Holbein had given the image such prominence in the painting and why it was made distorted. However, it has been suggested that the painting was intended to hang on walls of stair cases so that anyone ascending the stairs and passing the painting on their left would be shocked by the sudden appearance of the skull. Viewing straight on to the painting, the skull, to me, looks very out of place and almost as if it has been added on through photoshop because of the way the rest of the image is proportional and realistic, yet this stretched skull is not. Yet, it does reveal more of the extreme and magnificent skill Holbein contained and shows off his true artistic eye for detail and manipulation.

Although the painting clearly reminders us of time passing, leading to death and the pure mortality of human life – the skull specifically – is not just pessimistic and focusing on the worst in life. This is because of the small crucifix that is hidden away in the top left amongst the green curtain background.

The use of this object in the art work is suggested to symbolizes the never ending and constant faith in Jesus Christ who will help us to escape death and secure us in everlasting salvation and deliverance from all the sins we committed in our lives.

A detail that often goes unnoticed within the painting because of all the other mass of detail is the numbers on the handle of the sword and the book. The handle of the weapon in which Jean de Dinteville holds has the number 25 on and the book that Georges de Selve leans on has the number 29 on.

These both symbolize their ages at the time that the painting was created. By depicting their ages on these particular objects also reflects their personalities because Dinteville is a man of action where as Selve is a more reflective and contemplative man.

Holbein also depicts a range of globes – on geographical and one the shows not stars, but mythological creatures – arithmetic books, a triquetrum, quadrant and sundial. By having all of these objects imply a wide sense of knowledge and intelligence. It gives us a reminder that these belongings will go to waste once we die and by having them dispersed amongst the different 'levels' or 'realms' implies they all have a different importance both in life and after death. For example, the Celestial Globe is placed on the Heavenly Shelf at the top.

The top shelf in the painting has often been considered as the 'level' or 'realm' of Heaven because of the objects and the luxurious patterned material placed underneath. The lower shelf is a symbolism of Earth and Human Life whereas the floor, where A Lute instrument has been shown the skull is positioned, is on the Earth sector of the image and considered to be Hell has been depicted with broken where eternal damnation is to punish us for all the self strings. This could suggest the upset indulgences and vanities we and broken friendship between the religions and churches during the have during our lifee. time that this was created. It has also been suggested that it means the imperfections of the World compared to the way the God had intended to create and make it perfect. It makes us acknowledge and reminds us that we are far from perfect and we need God's help to get closer to the purity intended rather than the vanity we all consistently contain.

Bibliography: https://en.wikipedia.org/wiki/Hans_Holbein_the_Younger https://en.wikipedia.org/wiki/Hans_Holbein_the_Elder https://www.nationalgallery.org.uk/artists/hans-holbein-the-younger

https://www.nationalgallery.org.uk/paintings/hans-holbein-the-younger-the-ambassadors https://artstor.wordpress.com/2013/09/13/a-closer-look-at-hans-holbeins-the-ambassadors/ https://en.wikipedia.org/wiki/The_Ambassadors_(Holbein) https://www.google.com/culturalinstitute/beta/asset/the-ambassadors/bQEWbLB26MG1LA http://www.visual-arts-cork.com/famous-paintings/the-ambassadors-holbein.htm

http://www.bbc.co.uk/history/british/tudors/english_reformation_01.shtml http://www.diffen.com/difference/Catholic_vs_Protestant Art Book: The Definitive Visual Guide, by Andrew Graham-Dixon

Inspirations The following images are photographs I have taken myself that have been inspired by the Art work and images I have analyzed. I have tried to use the same kind of symbolisms from the original and older work to then be able to create more modern yet still 'old' looking compositions of my own.

I have included a skull in most of them because this is the most recognizable symbolism of time passing us by and the vanities within our lives. I have also used gold and bronze jewelry and coins to express the indulgences and expenses we go to in life even though after death they will all go to waste. I've used two different shaped clocks as well. One is larger for a bigger impact on the our lives ticking away till it strikes time for us to die. But I have also used a smaller more 'subtle' clock that blends in with the rest of my image because I believed that this shows how we, as humans, try to ignore the fact that we're going to die but it is still there in the background of our mind. A globe is also included to show travel and worldly knowledge.

A empty candle stick has been depicted in my photographs to because this shows the uselessness without the candle being in, almost like our bodies after we die and our 'soul' leaves our body. It becomes a waste of space. I use open books as well, both shut and with the pages fanned open to express in more extravagance the vanity we take n gaining new knowledge and the money we spend for these books. However, it also shows what books traditionally meant after being open that they became more worthless, especially over time and after being read. I use wine and fruit so show luxury that would have been associated with the 16th – 17th Century and a Roman helmet to imply the wars and fights that go on in the world just so we can gain more land or get more money, ect, only to waste our time and lives doing this because it won't affect us after we die.

In some of the images I use a small figure of 'Ra' the sun God of Egypt to show a type of Religion but to also emphasize the effect and suggestion of travel and extreme knowledge of both the world and the society that surround them. One of the other most important objects I included was the mirror. This is because I feel like it would symbolize to the viewer to reflect back on their own life and the way that they live and what things they are taking for granted and being 'vain' for.

Photoshop Inspiration The images that follow are of ones that I have studied and others I have found and thought were interesting and relevant to the overall theme of Time. However, the images that I have decided to use have been manipulated and changed within Photoshop and edited to change the way that they appear by making them seem as if they are a 'Glitch'. I feel that by doing this it creates a bigger effect and impact on the audience by creating a new and interesting photo for a viewer to look at . Furthermore, I thought that by using this Photoshop technique on the Art Works it would emphasize the passing of time and bring the glory of the Historical Art Work more up to date with the technology of this day and age. By bringing it up to date it shows 'The Passing of Time over History' and how we now use laptops, phones and technology for images and media where as before painting and drawing was relied upon. I believe that this technique is an overall success in linking in with the theme of time and brings in a new way of creating media and changing Old Art Works into much more modern ones that people of this days society would find more interesting to look at because it is more technical and what we would expect to see daily.