Vanitas and trompe-l’œil

Abstract This essay examines the complex ways in which early Netherlandish artists used illusionistic devices including trompe l’œil as a means of forcing viewers to confront their own mortality. Her analysis unpacks deep associations between representation memento mori motifs and viewer’s response, focusing on how such paintings paradoxically appeal notoriously fallible sense sight order provoke deeper reflection on, preparation for, inevitable end life. The relationship rests, this discussion, call attention painting itself invites responses that are both sensual cognitive. deception eye leads higher cognitive state questioning earthly perception well unfathomable nature death. frequent use folding panels served ‘enfold’ viewer actively visual conative dynamics painted representation.