((Click the image to enlarge))In cultures all over the world, death - both the occurrence and the personification of it - is most commonly viewed as a horrific reality that will eventually claim every living soul on Earth - something to be deeply feared and avoided at all costs. Soemthing that cruelly tears families, friends and loved ones apart against the well-meaning human wishes of the living that often, unfortunately, merely extend the agony and suffering of the dying by trying to hold on said loved one's life with the use of advanced technology that only serves to prolong the inevitable for only a short period of time. Rarely do the living stop to think about the comfort that Death can also bring; such as release from a painful, all-consuming mental or physical disease, or from the crippling after-effects of a cruel accident that leaves it's victims in constant pain and unable to physically care for themselves or even function properly at all, mentally or physically. Possibly the most suprising un-realized 'gift' of Death is the reunion of loved ones with their own loved ones who had already 'shuffled off this mortal coil' long before they did themselves.
Yet, in this warring world where families are so often torn violently apart by death, "Staring Contest" by Cyril Van Der Haegen still dares to show the lighter, more innocent side to an anthropomorphic figure who is more commonly associated with painful, despairing and anguished circumstances than peaceful and unifying ones, such as those mentioned in the previous paragraph.
In "Staring Contest", a balanced blend of rapport, comparisons and constrasts, analogy and humor are all used to convey the apparent message that Death is not necessarily always such a horrific and painful event as many people tend to make it out to be. By introducing the small, innocent (and, quite probably, warm and fuzzy) rabbit into what would otherwise be considered a bleak scene of death and cold, Van Der Haegen creates an illustration of a more peaceful encounter with Death, bringing a sense of comfort and friendliness into the piece - as well as the viewer - as they take in the humorous scene of the personification of Death engaging in a staring contest with a young rabbit.
As you examine the picture, you may begin to notice the recurring theme and patterns of swirls and circles used throughout the image, such as in the shape of the pendant around Death's neck or in the design embedded in the wide base of Death's scythe. It can also be found imprinted in the snow at Death's feet, and in the curving of the branches of the trees in the background or in the folds of Death's cloak.
These swirls could possibly stand as a metaphor, here meant to represent the 'mortal coil', as William Shakespeare first termed it, and serving as a reminder that Death always comes full-circle - no exceptions -, only separating loved ones for a time - everyone will die eventually, and, depending on your religious standpoint, we will all be reunited with those loved ones we have lost when Death comes full circle to ourselves, an idea that is most likely to be considered a comforting thought to the majority of us. The background of the piece itself is also very soothing to the senses, in contrast with the not-so-lively image of Death. The backdrop of this stare-off is done in multiple shades of white, a color which commonly represents innocence and purity, helping to add to the growing feeling that maybe Death is not always meant to be viewed as a horrific event, as it is often made out to be.
The white of the background also helps to convey a sense of peace in contrast to Death's bleak appearance and profession. As mentioned previously, white is commonly respected as the color of innocence, and the almost overwhelming presence of white in this piece introduces a softer touch to the scene than, for example, the use of bold reds and blacks would have done. These colors, in contrast to the clean, soft white present in this scene, could serve to heighten the anxiety felt by the viewer as they gaze on Death and perhaps cause this scene to be viewed as more of a stand-off between Death and the rabbit than a friendly game of 'Who-Can-Make-Their-Eyes-Fall-Out-First'. In using white, the artist presents us with a more peaceful scenario of mortality vs. fatality and instills a more childlike quality in the scene, by using both a peacefully-colored background and in portraying both Death and the rabbit as engaged in a childlike game - only in this case, whoever blinks first could possibly stand to lose not only the game, but their soul.
Another aspect of this painting that helps to create a sense of life and happiness is easily overlooked at first - as Death stands challenging/challenged by the rabbit, brightly colored leaves swirl around Death's cloak in a way slightly nostalgic to 'Pocahontas', (but we won't go there). These leaves, a possible anaology for life and exuberence in an otherwise dreary circumstance, greatly brighten the wary and bleak surroundings of the competitors while also creating a sense of warmth. The presence of these lively-colored leaves, in comparison with the small, innocent rabbit, helps to create an even more greatly lessened sense of fear and hostility in this relativaly bleak scene of an encounter with Death.
On the other hand, these leaves could also stand to be viewed as a metaphor for unhappy souls claimed by Death - no longer suffering from their previous mortal wounds, fears or illnesses, these souls, here represented by multiple brightly-colored leaves, are vibrant and peaceful as they swirl energetically alongside a sort of heroic figure who has freed them from their pain.In the end, Death is still likely to be more often viewed as a menacing figure - a symbol for all that will eventually come to a close. But, thanks to Van Der Haegan's uncommon, light-hearted illustration, perhaps we can now believe that Death is not something to be so feared at all, but see it as a bringer of peace, instead.
