Memento Mori, ‘To This Favour’ (1879)

Technique: Giclée kokybės spauda
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In his striking painting "Memento Mori, ‘To This Favour’", artist William Michael Harnett presents a classic still-life that delves deeply into the themes of mortality and the ephemeral nature of human life. Painted in 1879, Harnett’s work is a quintessential example of the "Memento Mori" genre, which serves as a reminder of the inevitability of death.The composition is simple yet profoundly symbolic. At the center lies a human skull, its vacant eye sockets staring outwards, a chilling focal point that draws viewers immediately. Surrounding the skull are various objects typically associated with scholarly and intellectual pursuits - books, a letter, and a glass column, possibly a candleholder, which together suggest a once-active human presence now gone.The books are richly detailed, their titles just visible enough to suggest valuable content, perhaps knowledge now silenced by the passage of time. An open book in the foreground invites the viewer to ponder the interrupted thoughts it might once have held. The hourglass beside the skull is notably absent, but its symbolic meaning is clear: time runs out for everyone.A handwritten letter, partially visible in the foreground, includes a poignant inscription: “There are no pockets in a shroud,” a stark reminder that material wealth and possessions hold no value beyond the grave.Harnett's mastery of trompe-l’oeil painting techniques brings a lifelike realism to the objects, enhancing the impact of the message. The somber color palette and subtle lighting evoke a sense of quiet and reflection, appropriate for the serious subject matter.

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William Michael Harnett was an Irish-American painter known for his trompe-l'œil still lifes of ordinary subjects.

Harnett was born in Clonakilty, County Cork, Ireland during the Potato Famine. Shortly after his birth, his family emigrated to America and settled in Philadelphia. in 1868 after becoming a citizen of the United States, the boy earned a living by engraving designs on table silver, and also attended night classes at the Pennsylvania Academy of the Arts, and later at Cooper Union and National University in New York. His first known oil painting, a still life, dates from 1874.