Memento

Memento
October 2, 2026 – March 20, 2027

With roots in classical antiquity (700 BC to 500AD), the still life first emerged in Egyptian tombs as paintings of food, intended as means of providing sustenance in the afterlife. During the Middle Ages (c. 500–1500), objects appeared primarily within religious paintings, steeped in symbolism and guided by theological philosophy.

The still life genre flourished in the 17th century as demand for religious imagery declined and an emerging middle class became interested in purchasing art. Extravagant floral bouquets and banquet spreads gave way in the 18th century to domestic objects―simple fruit or bread―in intimate arrangements encouraging quiet contemplation.

The modernity of the 19th century radically shifted the focus from symbolism to perception, making the subject fertile ground for experimentation. Movements such as Impressionism emphasized light, colour, and the experience of seeing the still life, while Post-Impressionism flattened space and experimented with shape and spatial relationships. The Cubists furthered this investigation by presenting multiple viewpoints at once, exposing the painting as a constructed image rather than a transparent window onto reality.

By the 20th century, still life was refreshed with conceptual force, reemerging as a vehicle for commentary on consumption, identity, and the environment. A playground for technical skill and experimentation, still life maintains its importance in an artist’s practice today. Thousands of years later, it continues to provide sustenance―for the living.

Image credit: Thomas Mower Martin (1838–1934), Still Life, Dead Ducks, date unknown, oil on canvas. From the collection of the Judith & Norman Alix Art Gallery