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The great "Vanitas I" by Georges Braque, at the Kreeger Museum in Washington, is a classic example.
WSJ: Vanitas I | Georges Braque | Denying Death | Masterpiece by E.A. Carmean Jr.
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The chorus is a diligent mass of followers until they turn on him, donning chain helmets, chanting "Vanitas!"
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With the whole gravitas exercise reduced to empty vanitas, only brevitas will characterise Mr Gore's remaining political career.
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Interestingly, during these years Braque was soon joined in using this Vanitas subject by Picasso, whose own still-life paintings and sculpture now employed skulls.
WSJ: Vanitas I | Georges Braque | Denying Death | Masterpiece by E.A. Carmean Jr.
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Under the Occupation, as Braque continued to explore both the Vanitas and other potential Christian themes, his colors grew increasingly darker, to browns and black, reflecting the growing gloom of Paris.
WSJ: Vanitas I | Georges Braque | Denying Death | Masterpiece by E.A. Carmean Jr.
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In the postwar years they again followed different subjects, with Braque returning to the kind of energetic colors he'd used in the Kreeger "Vanitas, " a rich palette that had been interrupted by war and its hardships.
WSJ: Vanitas I | Georges Braque | Denying Death | Masterpiece by E.A. Carmean Jr.
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Braque's joining of these symbols, in the context of the war, suggests that in this "Vanitas" we find what one might call a Christian message of ultimate hope, with its brilliant palette serving as a sign of faith's bold confidence in the face or fact of death.
WSJ: Vanitas I | Georges Braque | Denying Death | Masterpiece by E.A. Carmean Jr.