The artist has an unheimlich descendant.


Three hundred and sixty-six years before Hugo Williams’ ‘Last poem‘, Pieter Claesz‘s Vanitas with violin and glass ball (ca 1628) combines a classic Dutch seventeenth-century vanitas with a self-portrait.

(The violin’s music that cannot be heard is particularly relevant to Williams’ tongue that will not speak.)

The artist at work can be seen in the glass ball, which flaunts Van Eyck and Parmigianino‘s convex mirrors amongst its notable predecessors, and claims a Still-life with a spherical mirror (1934) by M. C. Escher, the drawing Dutchman, as its unheimlich descendant.