En la presente pintura, el simbolismo tradicional de vanitas, retratando la realidad de la muerte como un momento mori, ha sido representado con una exuberante alegría. Una cabeza sonriente se une a un corpus esquelético animado, evitando la representación habitual de un cráneo, mientras que el esqueleto, completo con su rodilla juguetonamente amartillada, parece estar descansando antes de continuar su camino. El reloj de arena, todavía bastante lleno de arena, se sostiene descuidadamente mientras el esqueleto se posa sobre una columna rota sosteniendo una guadaña.
Las pinturas de Bonomini para Santa Grata Inter Vites en Bergamo ejemplifican perfectamente su tratamiento de los esqueletos "vivos" (ver G. Brambilla Ranise, Paolo Vincenzo Bonomini, Bergamo, 2009 fig. XV, XVI, XVII y XVIII) Las seis pinturas de I Macabri, tradicionalmente exhibido en la iglesia solo para el Día de Todos los Santos, retrata esqueletos, completamente vestidos y ocupados en sus asuntos cotidianos: un carpintero con sus herramientas, una pareja elegante adornada con sombreros y galas, un soldado con su tambor, dos monjes inclinados en oración y una pareja de campesinos descansando en el campo. Incluido en el ciclo de pintura es un artista que pinta el Grim Reaper.
Allegory of Death (the Grim Reaper) by Paolo Vincenzo Bonomini, 19th century.
In the present painting the traditional symbolism of vanitas, portraying the reality of death as a momento mori, has been depicted with an exuberant playfulness. A grinning head is attached to an animated skeletal corpus, shunning the customary representation of a skull, while the skeleton, complete with his jauntily cocked knee, seems to be resting before continuing on his way. The hourglass, still quite full of sand, is carelessly held while the skeleton perches on a broken column holding a scythe.
Bonomini’s paintings for Santa Grata Inter Vites in Bergamo perfectly exemplify his treatment of ‘living’ skeletons (see G. Brambilla Ranise, Paolo Vincenzo Bonomini, Bergamo, 2009 fig. XV, XVI, XVII and XVIII) The six paintings of I Macabri, traditionally exhibited in the church only for All Saints Day, portray skeletons, completely clothed and going about their daily business: a carpenter with his tools, an elegant couple adorned with hats and finery, a soldier with his drum, two monks bowed in prayer, and a peasant couple resting in the countryside. Included in the painting cycle is an artist painting the Grim Reaper.
In the present painting the traditional symbolism of vanitas, portraying the reality of death as a momento mori, has been depicted with an exuberant playfulness. A grinning head is attached to an animated skeletal corpus, shunning the customary representation of a skull, while the skeleton, complete with his jauntily cocked knee, seems to be resting before continuing on his way. The hourglass, still quite full of sand, is carelessly held while the skeleton perches on a broken column holding a scythe.
Bonomini’s paintings for Santa Grata Inter Vites in Bergamo perfectly exemplify his treatment of ‘living’ skeletons (see G. Brambilla Ranise, Paolo Vincenzo Bonomini, Bergamo, 2009 fig. XV, XVI, XVII and XVIII) The six paintings of I Macabri, traditionally exhibited in the church only for All Saints Day, portray skeletons, completely clothed and going about their daily business: a carpenter with his tools, an elegant couple adorned with hats and finery, a soldier with his drum, two monks bowed in prayer, and a peasant couple resting in the countryside. Included in the painting cycle is an artist painting the Grim Reaper.
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