Luxurious, Terrifying Visions of Death in Renaissance Memento Mori
ART Luxurious, Terrifying Visions of Death in Renaissance Memento Mori The Bowdoin College Museum of Art is exhibiting memento mori objects from Renaissance Europe, often grotesquely designed to startle viewers into recognizing mortality. Finials of a Chaplet (France or southern Netherlands, 1530 with mid-19th- century insertion) (ca. 1850–1860), elephant ivory (courtesy Victoria and Albert Museum, London) BRUNSWICK, Maine — The first object visitors encounter in The Ivory Mirror: The Art of Mortality in Renaissance Europe at the Bowdoin College Museum of Art is a strand of prayer beads culminating with a three-faced carving. On one side is a man, on another a woman, and grinning sardonically between them is a skull. “Instead of the expected face of a person, you get death,” explained curator Stephen Perkinson, associate professor of art history at Bowdoin College, on a recent visit to the exhibition. “Its message is ‘never forget you are mortal, remember that death in the end levels us all,’ and it’s doing that through the winking irony of a luxury good.” Unknown Artist, Office of the Dead, Book of Hours, use of Rome, fol. 105 (Northern France, beginning of the 16th century), manuscript illumination on parchment (courtesy the Huntington Library, Art Collection, and Botanical Gardens, San Marino, California) Like all the approximately 70 objects in The Ivory Mirror, many on view for the first time in North America, the 1530 prayer beads are exquisitely crafted, down to the worms crawling through the skull’s bared teeth. The smaller beads have figures on either side representing classes from across society, from king to laborer, with a sudden corpse thrown into the mix.
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