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A Baroness, Her Skulls, and a Macabre Exhibition A Baroness, Her Skulls and a Macabre Exhibition
(about 20 hours later)
TOULOUSE, France — Just what was the appeal of tiny sculpted and carved skulls to an elegant French socialite married into the Rothschild banking dynasty? Almost a century after her death, the question of what drove Mathilde de Rothschild’s passion for macabre artifacts remains an enigma.TOULOUSE, France — Just what was the appeal of tiny sculpted and carved skulls to an elegant French socialite married into the Rothschild banking dynasty? Almost a century after her death, the question of what drove Mathilde de Rothschild’s passion for macabre artifacts remains an enigma.
Was it because she trained as a nurse and rubbed shoulders with death in a hospital during World War I? She had a passion for hunting — would that explain it? Or was she simply acutely aware that worldly pleasures were futile, and that death was always around the corner?Was it because she trained as a nurse and rubbed shoulders with death in a hospital during World War I? She had a passion for hunting — would that explain it? Or was she simply acutely aware that worldly pleasures were futile, and that death was always around the corner?
Born in the early 1870s, Mathilde married Baron Henri de Rothschild in 1895. When she died in 1926, the baroness bequeathed her grisly 180-piece collection without explanation to the Musée des Arts Décoratifs in Paris. “It’s all very mysterious” Sophie Motsch, a curator at the museum, said in an interview.Born in the early 1870s, Mathilde married Baron Henri de Rothschild in 1895. When she died in 1926, the baroness bequeathed her grisly 180-piece collection without explanation to the Musée des Arts Décoratifs in Paris. “It’s all very mysterious” Sophie Motsch, a curator at the museum, said in an interview.
“It is not the baroness’s choice of macabre artifacts that is surprising, but the fact that it was a woman collecting them,” Ms. Motsch said. “I know of no other woman to have done so,” she added, noting that although the actress Sarah Bernhardt slept in a coffin and made still-life paintings with skulls, “she didn’t collect.”“It is not the baroness’s choice of macabre artifacts that is surprising, but the fact that it was a woman collecting them,” Ms. Motsch said. “I know of no other woman to have done so,” she added, noting that although the actress Sarah Bernhardt slept in a coffin and made still-life paintings with skulls, “she didn’t collect.”
Now, for the first time, the baroness’s collection has been given its own show, “Même Pas Peur!” — “Not Even Scared!” — at the Fondation Bemberg in the southern French city of Toulouse through Sept. 30. Some of the pieces can be viewed as simple curiosities; others are remarkable and rare works of art. Now, for the first time, the baroness’s collection has been given its own show, “Même Pas Peur!” — “Not Even Scared!” — at the Fondation Bemberg in the southern French city of Toulouse through Sunday. Some of the pieces can be viewed as simple curiosities; others are remarkable and rare works of art.
Ms. Motsch, who curated the show, chose some favorites. Here are edited extracts in which she explains their allure.Ms. Motsch, who curated the show, chose some favorites. Here are edited extracts in which she explains their allure.
The god of love is tied to Thanatos, death, because love inevitably expires. Here, Eros is shown as a child holding the torch of love while riding a skull. Artists first associated Eros with skulls during the Renaissance. The baroness owned two such statuettes, this one made of ivory in the 18th century, and a later one carved in boxwood.The god of love is tied to Thanatos, death, because love inevitably expires. Here, Eros is shown as a child holding the torch of love while riding a skull. Artists first associated Eros with skulls during the Renaissance. The baroness owned two such statuettes, this one made of ivory in the 18th century, and a later one carved in boxwood.
Some of the works are worthy of the finest museums. This one, in carved ivory, is a star of the collection. The fact that it bears a date, 1547, is extremely rare for the pre-17th century Renaissance. Sitting on a tomb, the skeleton represents melancholy, traditionally considered to be brought on by the anguish of death. The figure leans on an hourglass, signifying that eternity lies ahead. It is an astonishing piece.Some of the works are worthy of the finest museums. This one, in carved ivory, is a star of the collection. The fact that it bears a date, 1547, is extremely rare for the pre-17th century Renaissance. Sitting on a tomb, the skeleton represents melancholy, traditionally considered to be brought on by the anguish of death. The figure leans on an hourglass, signifying that eternity lies ahead. It is an astonishing piece.
This delicate object, with a hooded skull carved into the handle is a constant reminder that everyone eventually dies. The artifact is highly refined, made of wood, diamonds and exquisite turtle shell. Especially during World War I, when death seemed to be everywhere, many women dressed in black from head to toe.This delicate object, with a hooded skull carved into the handle is a constant reminder that everyone eventually dies. The artifact is highly refined, made of wood, diamonds and exquisite turtle shell. Especially during World War I, when death seemed to be everywhere, many women dressed in black from head to toe.
It’s amusing to draw a connection between the baroness’s training as a nurse and this small container. Phrenology was a pseudoscience, popular particularly in the early 1800s, that claimed there were correlations between a person’s character and skull shape. In elegant salons of the time, guests would play at feeling each other’s heads to try to determine whether they were prone to this or that behavior.It’s amusing to draw a connection between the baroness’s training as a nurse and this small container. Phrenology was a pseudoscience, popular particularly in the early 1800s, that claimed there were correlations between a person’s character and skull shape. In elegant salons of the time, guests would play at feeling each other’s heads to try to determine whether they were prone to this or that behavior.
The baroness owned 21 tiny Japanese artifacts. Art from Japan flooded the West after the country opened up in the late 19th century. Okimonos were ornaments made for display in an alcove or on a little shelf. This skeleton, made from walrus ivory, rides a skull while being attacked by a giant toad. In another of the ornaments, a large snake emerges from the eye socket of a skull. Japanese culture often had a different relationship with death than the usual Western tradition. Skeletons and skulls regularly appear in folk tales as ghostly, comical characters. These okimonos were also meant to keep death at bay. They had no religious purpose.The baroness owned 21 tiny Japanese artifacts. Art from Japan flooded the West after the country opened up in the late 19th century. Okimonos were ornaments made for display in an alcove or on a little shelf. This skeleton, made from walrus ivory, rides a skull while being attacked by a giant toad. In another of the ornaments, a large snake emerges from the eye socket of a skull. Japanese culture often had a different relationship with death than the usual Western tradition. Skeletons and skulls regularly appear in folk tales as ghostly, comical characters. These okimonos were also meant to keep death at bay. They had no religious purpose.
This 18th-century drawing, originally attributed to Jean-Baptiste Le Prince but later identified as a work by Pierre-Antoine Baudouin, shows a banker confronting Death. He gestures in horror as Death, draped as an old woman, brandishes an hourglass to signify that the banker’s time has come. You can’t help seeing the irony and the baroness’s sense of self-deprecation, considering the family into which she married. It’s not hard to imagine that this piece might even have been badly received by her in-laws.This 18th-century drawing, originally attributed to Jean-Baptiste Le Prince but later identified as a work by Pierre-Antoine Baudouin, shows a banker confronting Death. He gestures in horror as Death, draped as an old woman, brandishes an hourglass to signify that the banker’s time has come. You can’t help seeing the irony and the baroness’s sense of self-deprecation, considering the family into which she married. It’s not hard to imagine that this piece might even have been badly received by her in-laws.
This piece points to a taste for pranks. It’s the handle of a cane. When used for walking, the tongue sticks out and the eyes roll into one of three positions — looking up, looking down, or completely white. I found it mentioned in a 1900 catalog of Briggs and Sons, an English manufacturer that had a Paris branch, priced at 150 francs — the most expensive cane in the list.This piece points to a taste for pranks. It’s the handle of a cane. When used for walking, the tongue sticks out and the eyes roll into one of three positions — looking up, looking down, or completely white. I found it mentioned in a 1900 catalog of Briggs and Sons, an English manufacturer that had a Paris branch, priced at 150 francs — the most expensive cane in the list.
This is a really very beautiful, very subtle object, sculpted with great virtuosity. The devil is duplicitous, he holds forth the torch of love while hiding the skull of death behind his back. His loins are covered in scales, he has wings like a bat, claws on his toes and horns in his spiky hair. I think it is a late 17th- or early 18th-century French piece, meant for collectors. It was probably for meditating upon, but it would also have been an amusing, even funny, piece.This is a really very beautiful, very subtle object, sculpted with great virtuosity. The devil is duplicitous, he holds forth the torch of love while hiding the skull of death behind his back. His loins are covered in scales, he has wings like a bat, claws on his toes and horns in his spiky hair. I think it is a late 17th- or early 18th-century French piece, meant for collectors. It was probably for meditating upon, but it would also have been an amusing, even funny, piece.
Many pieces of the baroness’s collection were Catholic artifacts, which is curious for a Jewish family. But then, the Rothschilds were not particularly religious and what seemed to matter to the baroness were the skulls. This exquisite statue of Christ as a child bestowing his benediction was made in Sri Lanka in the 17th or 18th century. He has Asian features and curls on his head like a Buddha’s. His foot rests on a small skull to show that he overcame death.Many pieces of the baroness’s collection were Catholic artifacts, which is curious for a Jewish family. But then, the Rothschilds were not particularly religious and what seemed to matter to the baroness were the skulls. This exquisite statue of Christ as a child bestowing his benediction was made in Sri Lanka in the 17th or 18th century. He has Asian features and curls on his head like a Buddha’s. His foot rests on a small skull to show that he overcame death.
The baroness was a skilled hunter. She might have worn this pin in her necktie on one of her hunts. It is made of gold, enamel and diamonds and shaped as a banker smoking a cigar. Was this proof that she had a sense of humor? I can’t help thinking so.The baroness was a skilled hunter. She might have worn this pin in her necktie on one of her hunts. It is made of gold, enamel and diamonds and shaped as a banker smoking a cigar. Was this proof that she had a sense of humor? I can’t help thinking so.
This medallion was painted by Anthelme-François Lagrenée in 1789, the year of the French Revolution. The musician is depicted in a neo-Greek style, yet the skeleton evokes a Renaissance-style Danse Macabre. It is all rather strange. It might have been a commission.This medallion was painted by Anthelme-François Lagrenée in 1789, the year of the French Revolution. The musician is depicted in a neo-Greek style, yet the skeleton evokes a Renaissance-style Danse Macabre. It is all rather strange. It might have been a commission.
It is quite rare to see a rosary with little skulls as beads. No doubt it was aimed at encouraging meditation with each prayer. It is very difficult to ascertain where or when it was made.It is quite rare to see a rosary with little skulls as beads. No doubt it was aimed at encouraging meditation with each prayer. It is very difficult to ascertain where or when it was made.
The baroness’s social activities were widely covered by newspapers such as Le Gaulois and Le Figaro, which detailed her outings to races, weddings, couture houses, and her charity work. But there was much more to her than that. She was one of the first women to drive a car and she managed a hospital in Compiègne, in northern France, during World War I. The baroness and her husband, who had chosen to be a doctor and playwright rather than following a career in banking, formed quite an original couple.The baroness’s social activities were widely covered by newspapers such as Le Gaulois and Le Figaro, which detailed her outings to races, weddings, couture houses, and her charity work. But there was much more to her than that. She was one of the first women to drive a car and she managed a hospital in Compiègne, in northern France, during World War I. The baroness and her husband, who had chosen to be a doctor and playwright rather than following a career in banking, formed quite an original couple.