Watch. Upon first glance, one is instantly captured by the beauty of this artwork, as depicted by the abundant array of flowers and fruits. The entire painting is composed of brown and green hues, except for the blue ribbon, which adds to the dark and somber mood of the artwork. At the time, great commercial trading wealth and regular military conflict consumed Europe, which provided painters with interesting subject matters and ideas to consider. As with the modern depictions of Vanitas artworks that exist today, the message of the genre remains the same: This is the only life we are given, so do not let it pass you by before you are able to enjoy it to the fullest. Thus, these paintings emphasized the inescapable mortality that viewers faced, in an attempt to remind viewers to act in accordance with God. Two men, who are perceived to be gay based on the title of the artwork, are portrayed to be surrendering their pleasures through drinking and dancing. Books and pamphlets of all sizes lie scattered beneath the bones. A snuffed-out candle, an empty glass, a watch and a skull. Next to her lies money and fine jewelry, yet the angel seems oblivious to this wealth. Gift of Maida and George Abrams. Below, the inscription readsQuid terra cinisque superbis Hora fugit, marcescit Honor, Mors imminet atra. Despite this tone set by the skeleton, its inclusion, along with the objects it holds, evokes ideas about ephemerality and the inevitability of dying. Flowers and tiny creatures Vanitas (second half of 17th century) by Abraham Mignon, where, barely visible amid vivid and perilous nature (snakes, poisonous mushrooms), a sole bird skeleton is a symbol of vanity and shortness of life;Abraham Mignon, Public domain, via Wikimedia Commons. The young David Bailly trained locally with a number of artists, including the engraver Jacob (Jacques) de Gheyn II (c.1565-1629), but he also spent time as a painters apprentice in Amsterdam before travelling to Hamburg in 1608 and thence to Venice and Rome. OMNIA . The servant holds a miniature portrait of the (unknown) patron who commissioned the painting, appropriately small, to indicate his lack of pretension and rejection of ostentation. The Ambassadors (1533) by Hans Holbein the Younger;Hans Holbein, Public domain, via Wikimedia Commons. The Vanitas genre made use of the still-life form in order to conjure up the transient quality of life and the vanity of living in the artworks that were produced.
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