Die 't sterven in zyn leven heeft geleerd, / Die vind de bitterheid des doods geweerd 1806 - 1830

Curator: This engraving, created between 1806 and 1830, is titled "Die 't sterven in zyn leven heeft geleerd, / Die vind de bitterheid des doods geweerd". The artist is Johan Noman, and it resides in the Rijksmuseum. Editor: Whew! That title’s a mouthful! My first impression? Grim. Utterly, delightfully grim. All those little vignettes, each a tiny drama of death…it’s like a darkly comic advent calendar. Curator: Yes, "He who learns to die during his life, finds the bitterness of death averted." is a rather loaded title. Considering it’s an early 19th century Dutch work, it speaks volumes about cultural attitudes toward mortality, reminding us of the prevalence of vanitas themes during this period. The use of engraving allowed for the wide dissemination of these meditations on life and death. Editor: Meditations, huh? To me, it's more like a medieval meme. Each scene has the same character Death unexpectedly interacting with people engaged in mundane activities. The stark lines and limited shading give it that wonderful immediacy, that kind of…*wham*, you’re confronted with the inevitable! It's like Death is saying, "Surprise! I’m everywhere." Curator: Absolutely, and the varied social classes and activities depicted highlight the universality of death. Death doesn’t discriminate; he visits the painter, the doctor, even the King. I think Noman subtly critiques social hierarchies, suggesting they offer no real protection from mortality's levelling effect. The text accompanying each scene reinforces that didactic intention, making sure the message is driven home. Editor: And I love that! He has death turning the baker's oven or stealing a peasant in the fields. All those skeletons dancing through life… or rather, through death…it's almost celebratory in a perverse way! A Memento Mori dance party! Curator: Well, the tradition of Memento Mori intends to encourage reflection, to prompt viewers to consider their lives and the actions they take, recognizing that life is fleeting, and our priorities should align with spiritual and ethical considerations rather than material gains. The print, then, serves a moralizing function, not just a morbid fascination. Editor: Agreed. Although maybe a *little* morbid fascination? I confess, I could get lost in this print for hours. All the fine lines, all the morbid details, are captured with precision. There is a weird pleasure in contemplating this intricate dance. I imagine how small those tools must have been when Noman worked with those minuscule details. Curator: It’s fascinating how this combination of art, culture, and social commentary really gives us some insight into that time, beyond history books or scholarly analysis. Editor: Right! It really does make you stop and think, "What am I doing with *my* precious time?" Plus, a little dose of good, old-fashioned *memento mori* is just what we need sometimes. Don't you think?