Part eight of Nothing
Is this a photograph of an easel and canvasses arranged for a trendy shop window display? Or you might see it on the cover of one of those aspirational free lifestyle mags published by estate agents, showing off the latest interior design features to fill those awkward corners of a penthouse with river view.
We know it’s staged – no real painter’s easel ever looks like that – but it is a reproduction of a real three-dimensional, isn’t it?
It is the three-hundred and forty year old optical illusion proving that human life is transient and meaningless, but art is not:
Cornelius Norbertus Gijsbrechts Cut-Out Trompe l’Oeil Easel with Fruit Piece oil on canvas 1670-1672.
Image: SMK – Statens Museum, Copenhagen..
Is this why all of us, even if we can’t draw or paint or write much more than a list of tags, are so desperate to leave our mark? Because we can’t bear being meaningless? Even if we can’t find a market for it? Even if we’re vanity publishing?
Posting on our online pin boards is another opiate for existential angst, supplying illusions ad infinitum. We think it keeps us sane, even while we drive everyone else mad. All is vanity.
Our response to the portrait of Lord Rochester holding a laurel crown over a monkey is dictated by the subject matter, because the charisma of the wild glamour boy poet, and the daring symbolism, which was the patron’s idea, not the artist’s, are more striking than Huysman’s execution, gorgeous though the baroque reds and ochres are.
Most Vanitas painting, of everyday objects, just stuff lying around, succeeded in glorifying itself as much as the customer’s lifestyle choices.
It was bravura advertizing of the painter’s technique and ingenuity, especially in conveying perspective, and of the power of art, in which the painting triumphed over the concept, the artist over the patron, however rich or royal; as an exercise in humility it defeated its own object. It is utterly vain. It’s not even transient.
The strict moral message is usually, thank God, almost completely submerged in wonderfully extravagant decorative effects, like theatre design.
The seventeenth century was as fluent in theatrical metaphor as we are in digital media and the manipulated image. Vanitas, which at first glance is the least dramatic of historic painting, with none of the stories to tell of landscape and portraits, is all about theatrical illusion.
Gijsbrechts created his delectable fruit-piece for the Danish king’s cabinet of curiosities. It was plainly described in the inventory from 1674 as: “A stand with painter’s paraphernalia painted on perspective.” (SMK website, which is superb.)
Even without tricks of perspective, the most mundane looking Baroque still life is set-dressing of a drama or satirical comedy, an illustration to a Shakespearean soliloquy about the futility of life, in which the cloud capp’d towers, the gorgeous palaces, all our invented consolations dissolve; or it simply looks good enough to eat.
Photo: Martin Hübscher Photography © 2014
And there is more vanity to come, in yet another post….