Esqueleto Saindo de Caixão com Crânio na Mão (Não Obtido) - Anônimo, Provavelmente Holandês
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Óleo sobre painel - 44x33
This small panel of a skeleton draped in a billowing white
fabric and standing atop a simple wooden coffin is datable to the
mid-16th century. Within its simple and balanced composition, great
attention has been given to every detail, from the shadows cast on the coffin,
to the weight of the arrow and skull in the gaunt figure’s hands, and to the tuft
of hair on the back of his head. As a memento mori, the image calls
attention to transience of life and the inevitability of death. Yet, the
old Netherlandish text that runs throughout provides a moralizing tale,
reminding audiences of the last judgement and the possibility of divine
salvation.
Comparisons with other early Northern examples allow for
an exploration into the original function of this panel, or into the traditions
from which it may have arisen. On the one hand, it may have once
been part of a larger allegorical vanitas series. A similar portrayal
of an upright skeleton near a gravesite and against a simple dark background
appears in one of the six small panels that make up Hans Memling’s allegorical
triptych of vanity, conceived around 1485-1490. On the other hand,
it may have also been a visual counterpart to a portrait, where it served as
the reverse or perhaps a sliding cover. An early example of this tradition
is found in an anonymous German Portrait of a Man in a Red Cap in the
Art Institute of Chicago.
That there is a later inscription on the reverse of the panel
attributing it to the German master Hans Baldung is not surprising. Like
Netherlandish artists, German artists were fascinated with the subject of
death, particularly after several plagues swept Europe in the Middle Ages, and
they regularly explored the theme. The Dance of Death and the Triumph
of Death, in particular, became increasingly popular among these artists,
reminding audiences that regardless of one’s position in the world, all are of
the same rank at death.
Recent tree-ring analysis by dendrochronologist Ian Tyers
suggests that the panel dates from circa 1540 to circa 1572.
The inscription seems to translate as: This is the Last
Judgement / God’s will is hereby done / who here serves the master / will also
be served.
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