Vanitas in Dutch 17th Century Art

Toward the end of the fifteenth century, the Low Countries of northern Europe (modern-day Netherlands, Belgium, Luxembourg), were under Spanish rule. They grew increasingly dissatisfied with high taxes and the pressure from the Spanish Inquisition’s push for Catholicism, forcing many Protestants to flee to more tolerant regions. The Low Countries declared war against Spain in 1568, and The Dutch Republic was formed out of the seven northern provinces in 1579 (now known as the Netherlands). Free from the grip of Spanish authority, the Dutch Republic flourished. The maritime industry greatly increased its productivity, and the country quickly grew a vast global empire. This success led to an era of prosperity known as the Dutch Golden Age. Dutch residents gaining great commercial wealth sought to invest in art-making. Catholicism contended all art should be overtly religious in nature, functioning solely to posit one’s mind toward glorifying God. Protestantism rejected this notion, insisting that art depicting God was sinful. Thus, affluent Dutch residents began to invest in the making of art that illustrated their fascination with material wealth, seeking to meticulously depict the intricate details of their beloved possessions. To differing extents, artists also began adding hints of the idea of vanitas to their work. Vanitas was commentary on the temporary nature of life, and the ultimate futility of materialism in the face of humans’ brief lives. It was derived from the Bible, which warns against overvaluing earthly assets : “...Vanity of vanities, all is vanity” (Ecclesiastes 1:2).

Jacques de Gheyn II, Vanitas Still Life, oil on wood, 1974.1

This piece is the earliest and most overt example of vanitas in artworks from the Dutch Golden Age. It differs from later works in that its symbolism is contained in conceptual rather than naturalistic objects, as seen in later works. The bubble-like sphere above the skull’s head portrays vague abstractions of mortality, such as a crown, drinking vessels, and a wagon wheel. On the sides above the bubble are the two ancient philosophers Democritus and Heroclitus pointing at the bubble while laughing and crying, signifying their reactions to the dull and materialistic aspects of the world. The cut flowers, smoke, and skull are motifs alluding to the shortness of human life popularly used in later vanitas paintings.

Pieter Claesz, Still Life with a skull and a Writing Quill, 1628, oil on wood 49.107

This work shows an oil lamp on the left with a wick that is almost snuffed out. Next to it, an incomplete skull lies on a book, leaning on a fallen glass. In front lies a white quill. In the reflection of the fallen glass is a window, hinting at the transience of life. The quill and book represent the earthly pursuit of reading, writing, and gaining knowledge, with the unsettling skull reminding the viewer of the vanity of such endeavors.

Willem Claesz Heda, Still Life with Oysters, a Silver Tazza, and Glassware, 1635, oil on wood, 2005.331.4

In this piece, the left side of the table is crowded with oysters and oyster shells, a novelty food item for Dutch citizens. The broken glass to the right is a haunting reminder of the brevity of life and the abruptness of which it can end. On the plate with the lemon is a paper funnel used to distribute spices. Contemporary viewers would have recognized the funnel as a page torn from an almanac, an unmistakable indication of the perishable nature of human life along with the possessions we value so deeply: even the most magnificent feast will end.

Clara Peeters, A Bouquet of Flowers, ca. 1612, oil on wood, 2020.22
In this work, Peeters portrays a varied group of flowers that pop against the darkened background with their vibrant reds, blues, yellows, and oranges. They rest in a dark green vase on a wooden table. There is a circular, compacted cluster of flowers right above the vase, with many others seemingly defying gravity as they perch far out on the top and sides. Many droop and wilt, representing the inevitable end to every beautiful flower. The directional lines of their stems unify them with the rest of the bouquet, creating a sense of harmony between life and death.

Jan Davidsz de Heem, Still Life: A Banqueting Scene, ca. 1640-41, oil on canvas, 12.195
Unlike the other still lifes, the setting of this work is not restricted to an enclosed space with a darkened background. An enshrouded curtain tapers off at the left of the painting, showing a pillar, and behind that, a glimpse of a tree and sky. The table is adorned with reflective fruits and dishes that glisten with an unnatural permanence. One is meant to feel overwhelmed by the abundance of food and drink. On the righthand side, a shadowed clock looms in the background, plaguing the idyllic scene with the reminder that every shiny delicacy is ephemeral.

Abraham van Beyeren, Still Life with Lobster and Fruit, ca. early 1650s, oil on wood, 1971.254

The work is thought to have lost its blue hue over time, causing some intricacies in detail to be lost. However, the lobster still pops against the rest of the composition. Next to is a peeled lemon, as well as peaches, grapes, and melons. The shimmery grapes seem to reflect as much light as the fallen plate and the goblet. Interestingly, the work seems to embrace the vanities of life, with only a pocket watch hiding on the far right side of the table, cautioning the viewer from getting too attached to such luxuries.