S7E19: What Vanitas Art Knows About Death: Lessons on Memento Mori & Living Fully

What can a 1600s Dutch painting featuring a skull, a fading flower, and a ticking clock teach us about our daily choices? In this episode we explore the art genre of vanitas and the powerful concept of memento mori—the intentional reminder that our time on earth is finite.

We break down the meaning behind these symbols and why they still matter today. Rather than inspiring fear, these classical masterpieces were designed to offer clarity. By placing beauty, wealth, and pleasure directly alongside mortality, vanitas art challenges us to stop delaying conversations, focus on what truly matters, and live with intention.

Transcript

Timestamps:

  • 00:00 – The Hidden Message in Vanitas Art: Decoding Memento Mori
  • 03:17 – Recipe of the Week: Judy Garland’s Homemade French Dressing and Vegetable Salad
  • 04:20 – Over the Rainbow: The Complex Life and Legacy of Judy Garland
  • 08:37 – What Dutch Vanitas Art Teaches Us About Mortality
  • 10:40 – Symbolism in Vanitas: Skulls, Musical Instruments, & Memento Mori
  • 14:07 – Timepieces, Skull Watches, and Tempus Fugit – “Time Flies”
  • 18:42 – “Even Before They Are Gone” Poem by Sarah Hall Gueldner 
  • 19:16 – Closing Thoughts & Last Words of the Wicked Witch of the West
An infographic about what vanitas art teaches us about life. Sections analyze symbology, modern meaning and takeaways.

What Vanitas Art Knows About Death

A skull, a glass vase of flowers, an hourglass, and two small dishes are arranged on a charcoal-gray ledge against a fawn-brown background in this vertical still life painting. Soap bubbles float around the objects to our right, and several insects alight on the flowers or ledge. At the center of the composition, the dark, parchment-colored skull is missing the lower jaw and front teeth, and the crown is wrapped with a single stalk of wheat. To our right of the skull and tucked in near the hollow of the cheek, a short, glass vase with a bulbous bottom, narrow neck, and slightly flaring lip holds four blush-pink flowers, perhaps roses, along with a white flower and a red one, perhaps carnations. A vine of royal-blue, trumpet-like flowers with pale yellow centers could be morning glories. Three of the pink roses are in full bloom and one, near the hourglass, is in bud form. The red and white carnations rest next to each other on or near the top of the skull. Deep green leaves fill the spaces between the loosely gathered flowers. Next to the vase, to our right, an hourglass has a cedar-red wooden frame, and about half the sand has dropped into the bottom bulb. A shallow dish, perhaps a shell, sits atop the hourglass with a short straw or stick resting against the lip to our right. One glistening soap bubble perches on the far end of the straw. Another small bowl and stick, this set of burnished gold, sits between the vase and skull. One of the blooming roses rests next to the skull, on the front left corner of the ledge. Several delicate soap bubbles rise above the hourglass along the right side of the painting. A golden brown moth with white markings floats above the bubbles, about to land on one of the roses. On the opposite side, a white moth with one black spot on its wing rests on a leaf near another rose. A white moth with black speckled wings clings to the front of the ledge, and a black and dark caterpillar flecked with gold climbs up under it. The artist painted his initials, “JVK,” on the front of the ledge, near a small red beetle. Light falls across the still life from our left, and panes from a window outside our view are reflected in the bubbles and on the glass vase.
Vanitas Still Life c. 1665/1670, Jan van Kessel the Elder

A Celebration with a Hidden Warning

At first glance, it looks like a celebration. Rich fabrics, gleaming instruments, carefully arranged fruit, and books that suggest knowledge and culture all sit in quiet balance. The light is soft. The objects are beautiful. It feels like a moment worth preserving. But then you notice the skull.

A flower is beginning to fade. Fruit has been cut open and will not last. A clock, almost easy to overlook, quietly measures time that cannot be stopped. This is not just a still life. It is a vanitas painting, part of a tradition that was never meant to simply decorate a wall. It was meant to say something uncomfortable, something people in the 1600s understood well and we still struggle to accept today. Which is, everything you value will not last.

Decoding the Symbols: What Is Vanitas Art?

The word vanitas comes from the Latin phrase “vanity of vanities, all is vanity,” a reminder that worldly things, wealth, beauty, pleasure, knowledge, are temporary. These paintings were intentionally constructed to include symbols of mortality. Some were obvious, like skulls or extinguished candles. Others were quieter: a piece of fruit beginning to rot, a flower losing its petals, a tipped glass, or a watch marking the passage of time. Each object carried meaning, and together they formed a clear message. Life is brief. Time is moving. Nothing here is permanent.

A still life painting with ornate musical instruments. There is a richly-laid table with fruits and golden objects, typical of Vanitas art and the reminder that all is short-lived.
Vanitas Still-Life with Musical Instruments – Cornelis de Heem.

Why 17th-Century Artists Painted Mortality

These paintings were not created to frighten people. They were meant to focus them. In a world without modern medicine or the illusion of control over death, people were more accustomed to seeing life as finite. Vanitas art functioned as a visual reminder to live with that awareness. It asked viewers to consider how they were spending their time, what they valued, and what would remain when everything else was gone.

The Modern Illusion of Endless Time

We tend to believe we are different now. We live longer. We understand more. We have systems in place that allow us to push conversations about death further away. We can avoid it in ways previous generations could not. But the reality has not changed. The same truths embedded in those paintings still apply. We still accumulate. We still delay difficult conversations. We still assume there will be more time. And there may not be.

Memento Mori: Finding Clarity in the Finite

At the center of vanitas art is the idea of memento mori, which means “remember that you must die.” It is not a statement of despair but rather of clarity. When people truly understand that time is limited, their priorities often shift. They become more intentional. They say the things they have been putting off. They focus less on accumulation and more on connection. They begin to recognize what matters.

Living Fully in the Shadow of the Clock

Vanitas paintings were never asking people to reject life or withdraw from it. They were asking people to see it clearly. To understand that beauty fades, pleasure passes, and knowledge cannot be carried forward beyond death. These are not reasons to disengage from life. They are reasons to engage with it more fully.

There is a kind of freedom in that recognition. When you stop expecting permanence, you begin to appreciate what is in front of you. When you stop assuming time is unlimited, you begin to use it differently. When you accept that life ends, you start to live in a way that reflects that truth.

You do not need a painting to tell you this. But the message remains the same. Your time is finite. Your life is temporary. And that is exactly why it matters.

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