Book contents
- Frontmatter
- Contents
- List of illustrations
- Acknowledgments
- 1 ‘Memory is like a dog that lies down where it pleases’
- 2 Flashes in the dark: first memories
- 3 Smell and memory
- 4 Yesterday's record
- 5 The inner flashbulb
- 6 ‘Why do we remember forwards and not backwards?’
- 7 The absolute memories of Funes and Sherashevsky
- 8 The advantages of a defect: the savant syndrome
- 9 The memory of a grandmaster: a conversation with Ton Sijbrands
- 10 Trauma and memory: the Demjanjuk case
- 11 Richard and Anna Wagner: forty-five years of married life
- 12 ‘In oval mirrors we drive around’: on experiencing a sense of déjà vu
- 13 Reminiscences
- 14 Why life speeds up as you get older
- 15 Forgetting
- 16 ‘I saw my life flash before me’
- 17 From memory – Portrait with Still Life
- Bibliography
- Index of names
17 - From memory – Portrait with Still Life
For my father
Published online by Cambridge University Press: 05 July 2014
- Frontmatter
- Contents
- List of illustrations
- Acknowledgments
- 1 ‘Memory is like a dog that lies down where it pleases’
- 2 Flashes in the dark: first memories
- 3 Smell and memory
- 4 Yesterday's record
- 5 The inner flashbulb
- 6 ‘Why do we remember forwards and not backwards?’
- 7 The absolute memories of Funes and Sherashevsky
- 8 The advantages of a defect: the savant syndrome
- 9 The memory of a grandmaster: a conversation with Ton Sijbrands
- 10 Trauma and memory: the Demjanjuk case
- 11 Richard and Anna Wagner: forty-five years of married life
- 12 ‘In oval mirrors we drive around’: on experiencing a sense of déjà vu
- 13 Reminiscences
- 14 Why life speeds up as you get older
- 15 Forgetting
- 16 ‘I saw my life flash before me’
- 17 From memory – Portrait with Still Life
- Bibliography
- Index of names
Summary
You will find this Vanitas still life with portrait of a young painter in the Lakenhal in Leiden. It was painted by David Bailly, a seventeenth-century Leiden master, and there are good reasons to believe it is a self-portrait; we know from other paintings that this is what Bailly looked like. Not much is known about his life; contemporaries have left hardly any accounts of him. He was born in Leiden in 1584 and decided to become a painter after visiting the shop of the engraver Jacques de Geyn. In the winter of 1608 – he was twenty-four years old at the time – Bailly left for Germany and Italy where he earned his living by painting. After five years, ‘weary of travelling’, he returned to Leiden, where he quickly made his name as a portraitist. His clients were drawn mainly from university circles.
He married late in life, in 1642, at the age of fifty-eight. The age of his bride, Agneta van Swanenburgh, is not known. In the spring of 1657 the couple made their will, by which time Bailly was too weak to put his signature to the document. His demise, probably during the last days of October, was entered on 5 November 1657 in the parish register of the Pieterskerk. Bailly's death was clearly not considered a significant loss to the community: the entry in the Pieterskerk was not copied into the municipal burial register.
- Type
- Chapter
- Information
- Why Life Speeds Up As You Get OlderHow Memory Shapes our Past, pp. 269 - 272Publisher: Cambridge University PressPrint publication year: 2012