This painting explores the conversation between various figures from Hamlet as Hamlet discusses Yorick.
'Alas, poor Yorick! I knew him, Horatio; a fellow of infinite jest, of most excellent fancy; he hath borne me on his back a thousand times; and now, how abhorred in my imagination it is! [...]'
The contrast between Yorick as "a fellow of infinite jest, of most excellent fancy" and his grim remains reflects on the theme of earthly vanity: death being unavoidable, the things of this life are inconsequential.
This theme of Memento Mori ('Remember you shall die') is common in 16th- and 17th-century painting, appearing in art throughout Europe. Images of Mary Magdalene regularly showed her contemplating a skull. It is also a very common motif in 15th- and 16th-century British portraiture.
Here I have used bright colours to lessen the grim reality, exalting a life lived.
The painting uses Tempera and Acrylic paints on Wallpaper Underlay.
Tempera and Acrylic on Wallpaper Underlay Paper
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This painting explores the conversation between various figures from Hamlet as Hamlet discusses Yorick.
'Alas, poor Yorick! I knew him, Horatio; a fellow of infinite jest, of most excellent fancy; he hath borne me on his back a thousand times; and now, how abhorred in my imagination it is! [...]'
The contrast between Yorick as "a fellow of infinite jest, of most excellent fancy" and his grim remains reflects on the theme of earthly vanity: death being unavoidable, the things of this life are inconsequential.
This theme of Memento Mori ('Remember you shall die') is common in 16th- and 17th-century painting, appearing in art throughout Europe. Images of Mary Magdalene regularly showed her contemplating a skull. It is also a very common motif in 15th- and 16th-century British portraiture.
Here I have used bright colours to lessen the grim reality, exalting a life lived.
The painting uses Tempera and Acrylic paints on Wallpaper Underlay.
Tempera and Acrylic on Wallpaper Underlay Paper
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