One factor that characterized much of the Golden Age art is its temporality. One way or another, many artists create some element of time in their work. This is accomplished through many different means. Some pieces act like a snapshot of a specific moment, while others call our attention to the fleetingness of life and reality of death and legacies. This exhibition invites viewers to think upon the concept of time, not only in its abstract sense, but in practicality as well. Do we treasure the little moments that are gone too soon? Do we contemplate how our lives will impact those we leave behind?
While many of these Dutch painters did not create art with the same hope towards eternity that followers of Christ share, may their art still remind us to steward our time and talents well and for the glory of God as this present earth passes away.
Self Portrait
Artist: Judith Leyster
Date: c. 1630
Medium: Oil on canvas
National Gallery of Art
Accession Number: 1949.6.1
Leyster's Self-Portrait is an example of creating an active moment. The artist could have easily depicted herself simply painting the work in front of her, which in and of itself would have shown a particular moment. However, what she does to add to this is elevate this moment by inviting us in. She has turned around to acknowledge us as the audience and we can now take part in this momentary interaction.
The Anatomy Lesson of Dr. Nicholaes Tulp
Artist: Rembrandt van Rijn
Date: 1632
Medium: Oil on canvas
The Mauritshuis
Inventory Number: 146
Originally a commissioned painting from the Surgeon's Guild in Amsterdam, Rembrandt could have painted a simple group portrait of the surgeons. Adding the presence of a cadaver ups the ante, as it were, and in addition to this, the men are interacting with the cadaver. Each figure looks at a different point in the room while Dr. Tulp handles the corpse's muscles and tendons. We can assume that the men portrayed did not simply pose this way. Rather, Rembrandt is giving us a snapshot of a moment in the life of these surgeons. while paying homage to their desire for scientific advancement, another key characteristic of the 17th Century Dutch
Still Life with a Skull and a Writing Quill
Artist: Pieter Claesz
Date: 1628
Medium: Oil on Wood
The Metropolitan Museum of Art
Accession Number: 49.107
Another way in which the Dutch depicted temporality was in a more symbolic, philosophical sense. Still Lifes such as this work were popular in the Golden Age, and often included such skulls and were given a title with the word Vanitas to further point out their symbolism. The presence of the writing quill and papers alongside the skull in a shadowy room is meant to convey the fleetingness of worldly knowledge in the face of creeping death. While not meant to portray time in an instantaneous sense, this work displays time in its conceptual form, slowly ticking along, until our death, when all that we prized on earth shall become worthless.
Aristotle with a Bust of Homer
Artist: Rembrandt van Rijn
Date: 1653
Medium: Oil on canvas
The Metropolitan Museum of Art
Accession Number: 61.198
This work by Rembrandt points to layer upon layer of temporality. While there are only two "real" figures in this painting- Aristotle and Homer's bust- Rembrandt has, in a way, made himself a character as well. This painting invites us to think upon the meaningfulness of a legacy. It is known that Aristotle was greatly influenced by Homer, and as he rests his hand upon the bust's head, he contemplates the legacy that Homer left behind. On Aristotle's sash, there is a small picture of Alexander the Great, of whom Aristotle was the teacher. This adds a new level to the work, as the central philosopher considers not only what those before him left behind, but also what he is to leave in his stead. Lastly, Rembrandt himself makes a point about his own legacy. Aside from the title of the artwork, we may not initially guess that the man on the right is Aristotle, because he is certainly not wearing the clothes of a Classical Greek philosopher. In fact, he is garbed in 17th century Dutch clothing, showing that Rembrandt is bringing this work into the modern era (at the time) and inserting himself into the place of Aristotle as well through this mean. We are able to participate with the artist in contemplating our use of time and how others will use our
contributions after us.
A Musician and His Daughter
Artist: Thomas de Keyser
Date: 1629
Medium: Oil on wood
The Metropolitan Museum of Art
Accession Number: 64.65.4
This portrait combines both of the previously mentioned modes of storytelling to convey the passing of time. First, the central figure of the father stands in an awkward pose, which we would expect is not a stationary one. Rather, he is moving to a new position, thus activating this work and pointing out that it is depicting a fleeting moment. Second, the daughter's attire also points to temporality in a much broader sense. Even though she is obviously quite young, she wears the costume of a sophisticated grown woman, so that we as the audience are left to think not only of what she is in this moment, but also of what she is to become in the future.
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