Vanitas Paintings.

Our recent trip to the National Gallery in London fuelled my research into these Vanitas paintings. Upon looking into some of the historical portraits I saw I came across an interesting fact; that in the 17th and 18th century portrait artists used to paint objects to keep their skill in whilst waiting for commissions.

More often than not they would represent their subject using a range of  objects in a painting that resembles still life. These objects each held their own symbolism or range of meanings:

Pieter Claesz Vanitas Martwa Natura 1625

• Skull: Death, this is a clear memento mori message or the transience of life, a universally recognized symbol of death.
• Watch or hourglass: time is limited and is passing, therefore, use it wisely.  See a typical one-handle XVII century watch at the lower right of the photo.
• Books: Human knowledge and its temporary nature.
• Artist’s instruments e.g. Palette, brushes, easel: Indulgence in the arts, very few could afford to be painters let alone patronize the arts.
• Shell: they were normally exotic ones not commonly available in the Netherlands. They were a symbol of the vanity that comes with wealth, as these were exotic items at the time, only a very wealthy person would have one of those.
• Insects, decaying flowers: transience of life. They were inserted in paintings depicting expensive objects as a reminder that life is temporary and moral considerations deserved more attention than material things.
• Broken or tipped over glassware: transience of life or life is fleeting.
• Musical instruments: indulgence of the senses as a luxury. Sometimes they are present as artistic inspiration, as music would inspire artists.
• Silk or velvet tablecloths: vanity, as these were expensive things. Silk being the ultimate fabric material and purple the most expensive dye, hence the Roman emperors wore purple tunics.
• Oriental rugs or carpets:  These were prohibitively expensive items, carpets were placed on tables to avoid stepping on them and causing decay in their colors or integrity. They were a symbol of wealth but also a sign of pride as they were items brought into the United Provinces through trade and commerce.
• Jewelry, clothes or mirrors: remember the temporary nature of beauty, wealth and wisdom. Earthly riches are temporary and therefore life should be carried out according to the modesty traditions that were in place at the time.
• Mirror: a clear symbol of the vanity that should be avoided.
• Jars: Stoneware or porcelain were used for water or oil, both substance sustain life at the time.

(Sourced from http://levinrodriguez.blogspot.co.uk/2012/02/symbolic-meaning-of-objects-used-in.html)

The image above is one painted by Pieter Claesz in 1625 and from the information above we can begin to read the painting. Noting that the subject he was representing was both wealthy due to the compass which signifies that he was well travelled and the pen and paper which meant he could read and write. Something that at the time only the wealthy could do. The skull and the flower represents his mortality. The fact that we select objects upon which to place these narrative is what I am intrigued by. This notion was born in the 17th century and is still present today in the relationship we have with our affects.

This unique depiction of human life has defined people for centuries. And I can’t help but connect this historical technique to what I am exploring within this project for portraiture. Picking objects to show their representation of humans. Having the symbolism defined here is essential to the objects I select. Taking them out of context as the painter does is also something I want to be playful with.

Rodriguez, Levin. ‘..The Berkemeyer Project..: Symbolic Meaning Of Objects Used In Vanitas Paintings’. Levinrodriguez.blogspot.co.uk. N.p., 2012. Web. 18 Feb. 2015.

National Gallery, London, Visited 4th February 2015

Taylor Wessing Portrait Prize 2014.

The Taylor Wessing Photographic Prize is currently in its 7th year in 2014 encompasses sixty portraits from around the world; creating an illusion of our reality today as a culture. From intimate portraits of friends to famous faces being revealed. A combination of traditional and contemporary techniques and photographic processes can be viewed. The judges, of this years prize had to sort through over 4,000 submissions across every style and genre, that express a narrative of pride and human presence. Admiration, Affliction, Companionship, Identity and Love are somewhat significant running themes this year.

The implications of having a sponsor is sometimes considered to be detrimental to the overall show, sometimes having political elements. However this is not the effect that Taylor Wessing has on the show. Apart from enabling the community outreach projects and education services they have a process when selecting the images asking questions like; what makes the portraiture stand out? The focused expression? The complex composition? Lighting, tones, scale? Or the empathy afflicted onto the subject? Walking through the  show as a viewer, you experience and array of emotions as you feel welcomed into the intimate portraits.

We were there to investigate issues of representation in visual art that we could develop into our own project. Using imagery that we found to select contexts, processes and practices to form the foundation for our representation unit.

Heiko Tiemann ‘Boy with Drape’ 2014, From the series ‘Infliction’

‘Boy with Drape’ by Heiko Tiemann is a digital colour print, from his series infliction. Within which he explores young people and their social and emotional conflicts and backgrounds. Using an 8×10 inch field camera its cumbersome process allows him time to form a connection and build a relationship with his subject. Representing them in a unique and intimate way because he gains their trust. Tiemann was born in 1968 and studied photography at Folkwang Hotachule Essen and The Royal College of art London. His work previously being seen in John Kobal photographic Portrait prize 1998 and 1999. Ive been looking into the representation of the mentally ill through portraiture so this was a pivotal image for me. It portrays a young boy who is shrouded with a curtain, the drape acting like a safety blanket especially when composed and framed in this way. Portraying the child like belief that you are safe under the duvet. The fragility of the human mind has always fascinated me, but representing it using children, just might overstep the mark when it comes to ethics for me. Children don’t have the power to refuse their photograph being taken in normal circumstances so what about those with difficult backgrounds who are struggling socially?

Jon Cartwright ‘Roger Lloyd Pack’ 2013

‘Roger Lloyd Pack’ by Jon Cartwright is a digital colour coupler print made in July 2013. Being a portrait of the late actor its subject is it relevance. There is something prominent about having such an intimate view of an actor. This is due to the preconception that portraiture is about illuminating areas of ones personality, but with an actor we aren’t used to being able to see a reality we are always submerged in their representation of the role they are playing. Striking is the expression, the contemplative look and strong eye contact is haunting to the viewer. This is not a monochromatic print but the soft black and white tones are intriguing. Cartwright was born in 1975 and took a BA in philosophy at Nottingham Uni. Its almost as if the degree in philosophy inspired the composition and posture that he controlled in this image.

Marcia Michael ‘Myrtle McKnight, My Mother’ 2014 From the series ‘The object of my Gaze’

‘Myrtle McKnight’s my mother’ by Maria Michael is from her series ‘object of my gaze’. It’s an inkjet print made in April 2014. Intimacy is a prominent theme in this photograph of her mum undressing. The facet that she hides her  identity using her shroud is what interests me the most. The series intention coincides with the legacy of images left for future generations and presents an aesthetic that challenges the way of seeing, lessening the gaze. It dispels the preconception of a ‘normal type’ of race and sex that exists under the notion of identity and its formation. Born in 1973 she studied photography at Derby Uni and London college of communication, previously shown at Taylor Wessing in 2010

Nepomuk, ‘Jacek Z.’ 2013 From the series ‘Not Guilty’

‘Jacek z’ by Sebastian Holzknecht is from his series not guilty. An inkjet print made in January 2013. It depicts a polish man, a survivor of Berkenah concentration camp 68 years previous to when it was taken. The series is a set of 41 large format photos of elderly survivours of concentration camps. Born in 1983 Holzknecht studied an MA in photography and is now studying image science at Denebe University. He was previously exhibited at Israelitische Kultusqemeinde, Munich. The relevance of this portrait is particularly relevant in 2014 as it is the centenary of the first World War which also brings the second World War to the forefront of our minds.  There is something unique about humanity when captured like this. The pre-conceptions we have about war and our own mortality are shown within this concept of the double framing. Documenting the then and now.

Nicholas Sinclair ‘Celia Paul London 2013’ From the series ‘Portraits of Artists’

‘Celia Paul London 2013’  is by Nicholas Sinclair from his series of portraits of artists. Its an inkjet print made in December 2013. There is often a preconception about artists and how they work in their own space, often being treated with the upmost intimacy and shrouded in secrecy.  This portrait of a painter in her studio is an intimate shot. We can allude to this by the composition that was set as her sister is painted next to her. Connoting the relationship between them and helping to represent her and her art form. I can imagine its every photographers dream to photograph an artist in there studio due to the quality of ambient light. Sinclair was born in 1954, went to Newcastle Upon Tyne University and  has previously been shown at Taylor Wessing in 1994, 1998, 2001 and 2011.

Taylor Wessing Portrait Prize was fascinating this year, how people are represented in terms of identity and how that differs world wide was the most intriguing. I have picked but a few of the artists I enjoyed and each has motivated me into considering the photographic elements that come into play when considering representation within portraiture.

National Portrait Gallery ‘Taylor Wessing Photographic Portrait Prize 2014’ Visited 4th February 2015