VANİTAS NATÜRMORTTA TEMSİL VE İMGE

Abstract

In artistic painting design of Netherlands during XVII Century; naturemort skull design gives clues on approaching secular modernity. Skull image by Spanish artist Antonio de Pereda, that creates a feeling of disgust, represents death and life of literature. However; Abraham Van der Schoor, rather than triggering such hideous feelings, by using metaphoric expression, relates death with feeling of emptiness by means of objects. In his designs, he refrains using mortal humankind as theme, but he questions the art design and vitality. By means of delight of a look for anonymous field of art, Vanitas naturmorts form a sort of paradox between death and illustration of decay. While artistic works of Vanitas represent mortality, it was noted that they were somehow an investment to world. Rather than being entitled to inform on objective information of design; Georgia O’Keeffe owns a monetary delight on ordinary things. During 17th Century in Netherlands; naturemorts of vanitas not only used to criticize tangible materials but also artworks were dignified. It underlines human labour lying under the luxury goods but ignores identities. Within this context; rather than individualism there exists domination of anonymity. By means of objects used by Van Gogh in his artistic works, owners, mentioned, becomes significant. Objects become important if humanitarian values increments. Although there exists selfhood in artistic work called “Chair and His Pipe” by Van Gogh, there is an image of both private and subhuman concept in artistic work of Andy Warhol, “Grand Electric Chair”. This artistic work represents concept of human death and it becomes the death itself as well. In this study; representation of death and life as well as samples on this conceptual approach shall be reviewed.