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Lot Essay
Judaspenningen in Japansche vaas came into being on a dividing line of two phases in the oeuvre of Jan Mankes. On the one hand it still shows the austerity, monumentality and stylization, in the centre of the composition, but on the other hand the return of the dreamlike character is already visible. The background wall and ledge are slightly faded and blend into each other, giving the work a somewhat ambiguous suggestion of depth and highlighting the Japanese vase and especially the Satine flowers.
Like many of his subjects Judaspenning is a recurring theme in the oeuvre of Jan Mankes. There are at least four paintings that feature this: Vaasje met Judaspenningen (1910), Dood vogeltje met judaspenningen, (1910), Keulse pot met reigersneb (1915) and the present lot (1916).(see A. Mankes-Zernike, Jan Mankes, Wassenaar 1928, p. 57-62). For Mankes it referred to transitoriness. Combined with a dead bird or animal skull the paintings clearly have a Vanitas form language. The dead animal represents mortality the translucency of the delicate plant represents the fragility of life. The present lot, without the obvious references of a deceased animal, make this a very subtle Vanitas painting.
In 1915 the first symptoms of tuberculosis showed with Mankes. This must have had influence on his choice of subject matter and symbolic meaning in his paintings. But even without symbolic value or hidden meaning, Judaspenning was a technical challenge to Mankes. The transparent appearance is pre-eminently suitable for showing his painterly skills, achieving this translucent texture can only be done by applying and partially removing many thin paint layers, so-called glazing.
Like many of his subjects Judaspenning is a recurring theme in the oeuvre of Jan Mankes. There are at least four paintings that feature this: Vaasje met Judaspenningen (1910), Dood vogeltje met judaspenningen, (1910), Keulse pot met reigersneb (1915) and the present lot (1916).(see A. Mankes-Zernike, Jan Mankes, Wassenaar 1928, p. 57-62). For Mankes it referred to transitoriness. Combined with a dead bird or animal skull the paintings clearly have a Vanitas form language. The dead animal represents mortality the translucency of the delicate plant represents the fragility of life. The present lot, without the obvious references of a deceased animal, make this a very subtle Vanitas painting.
In 1915 the first symptoms of tuberculosis showed with Mankes. This must have had influence on his choice of subject matter and symbolic meaning in his paintings. But even without symbolic value or hidden meaning, Judaspenning was a technical challenge to Mankes. The transparent appearance is pre-eminently suitable for showing his painterly skills, achieving this translucent texture can only be done by applying and partially removing many thin paint layers, so-called glazing.