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Essay / Research Paper Abstract
This 4 page paper discusses the composition of Abraham Beyeren and his work, Banquet Still-Life with Mouse as examples the Vanitas style of Dutch painting during the seventeenth century. Bibliography lists 2 sources.
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4 pages (~225 words per page)
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having brought Gods wrath upon them in the form of the plague. Those in power used the artists of the day to depict them in favorable ways as a form
of early advertising. Gone were the strictly liturgical paintings and sculptures. In the end, the plague changed the course of human history, its economics, its social structures, even the
culture. This is certainly reflected in the vanitas paintings which would come into being, and whose style is aptly represented by Abraham van Beyerens Banquet Still-Life with a Mouse.
Van Beyerens work came toward the end of the seventeenth century and as such can be seen to have fully encompassed the vanitas tradition
as well as anticipating some of the changes in palette, which would be a part of the eighteenth century(Beyeren). Vanitas paintings like Beyerens works were sill life portraits whose underlying
theme was to remind the viewer of the impermanence of luxury and material goods. The word, itself, vanitas is reminiscent of
the word vanity of which the portraits depict. Often the pictures show ample and vast quantities of flowers, food, rich goblets and plates, and opulent surroundings. The vanity of the
situation is shown through the inclusion of some element out of place, in Beyerens case, a small mouse. Beyerens use of the
mouse, then signifies the futility of seeking what does not last, that amid the splendor is the grounding thought that no material thing every lasts. In the end, spiritual feasting
and luxury is what is meant to be shown, and that worldly opulence will only lead to a sense of emptiness.
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