{"id":95469,"date":"2016-03-10T18:19:01","date_gmt":"2016-03-10T23:19:01","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=95469"},"modified":"2016-03-11T10:57:04","modified_gmt":"2016-03-11T15:57:04","slug":"memento-mori","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/03\/10\/memento-mori\/","title":{"rendered":"Memento Mori"},"content":{"rendered":"
\"\"<\/a>

This painting and below: E. B. Roberts, Series of Salesman Samples for Memorials<\/i>, 1929, enamel on board, \u00a020″ x 24″. From a series of thirty-three paintings. Images courtesy Ricco\/Maresca Gallery.<\/p><\/div>\n

Trawling through eBay recently, I came across a folder of sample funeral cards from the early twentieth century. As near as I can tell, salesmen would roam from funeral home to funeral home peddling these to undertakers, who would in turn press them on bereaved families. They were standard thank-you notes, essentially\u2014\u201cThe family of _________ will hold in grateful remembrance your Spiritual Bouquet and kind expression of sympathy\u201d\u2014but unattached to any death in particular, their messages were gauche, even funny. That they were framed in advertising copy didn\u2019t help. Imagine: Someone you love dies, and before you can even pick out the announcement cards, you have to read sentences like \u201cGenuine engraving achieves its inherent beauty from a correlation of width and depth which no other process possesses.\u201d As a character in Terry Southern\u2019s The Loved One <\/em>says: \u201cDeath has become a middle-class business. There\u2019s no future in it.\u201d\u00a0<\/p>\n

\"\"<\/a>

From eBay: a salesman sample funeral card<\/p><\/div>\n

The sample cards reminded of the mundane aspects of dying (not to get all \u201cMus\u00e9e des Beaux Arts<\/a>\u201d on you) and I thought of them again when I saw the grid of sixteen sample headstones on display at Ricco\/Maresca Gallery\u2019s new exhibition, \u201cExpiration Date<\/a>,\u201d which presents a variety of work focused on mortality. These rough, unembellished paintings come from English, Indiana, where I can\u2019t imagine they were an effective sales tool\u2014there\u2019s nothing stately in the memorials as they\u2019re presented here, nothing that confers honor in death. As art, though, they\u2019re terrific, in the modern and archaic sense of the word.<\/p>\n

\u201cI have not seen anything like them, ever,\u201d Frank Maresca wrote to me. \u201cThey date to the 1920s and most of the names on the stones are generic\u2014Pond, Summer, etc. They were found untouched in their handmade wood carrying case: a total time capsule.\u201d<\/p>\n

He\u2019s not kidding about the names: they have an everyman flatness to them. Pond. Love. Lane. Land. Roll. Cole. Cook. Grant. Hood. Bell. A few dare to wander into disyllabic territory, but only as far as Jackson, Roberts, and the like. Taken in the aggregate, they blur into an indistinguishable mass of white-bread America, but they reward close scrutiny, especially for what they say about the marketing of death. These tombstones couldn\u2019t be blank<\/em>, after all\u2014how would the customer know what the letters would look like? But a name with the faintest whiff of the particular\u2014a Smolenski, say, or a Piepenbring\u2014could dissuade an otherwise willing client, who had to imagine either himself or his loved one resting beneath this stone for all eternity. It wouldn\u2019t do to picture some other guy resting in peace there. It takes a name like Cook, almost aspirational in its hollowness, to inspire that kind of confidence. Cook is for closers.<\/p>\n

But did anyone in English, Indiana, I wonder, come away from these paintings with confidence? To buy a tombstone based on what you see here would be an act of faith roughly on par with praying for the newly deceased. Something about the paintings\u2019 plain amateurishness\u2014with the artist having only barely gestured toward, say, grass, trees, depth, texture, perspective\u2014only amplifies their morbid quality. Notice, too, that the skies are always stormy, as if gloom were an effective sales tactic: buy this deluxe tombstone and the clouds will never part, for the memory of your loved one will always weigh heavy on your soul.<\/p>\n

Even more than those sample funeral cards, these paintings give a glimpse into another era\u2019s concept of death and ritual, and the prickly, mercantile realities surrounding that ritual. Actually, about those sample cards\u2014the starting bid on eBay was $9.99, but no one made an offer. Not even me.<\/p>\n

\"16_RMG-6996-full\"<\/a><\/p>\n

\"\" \"15_RMG-7005-full\"<\/a> \"14_RMG-6997-full\"<\/a> \"12_RMG-6983-full\"<\/a> \"11_RMG-6992-full\"<\/a> \"10_RMG-6989-full\"<\/a> \"9_RMG-6999-full\"<\/a> \"8_RMG-7004-full\"<\/a> \"7_RMG-6982-full\"<\/a> \"5_RMG-6981-full\"<\/a> \"4_RMG-7003-full\"<\/a> \"3_RMG-6988-full\"<\/a> \"2_RMG-6998-full\"<\/a> \"1_RMG-6972-full\"<\/a><\/p>\n

\u201cExpiration Date<\/a>\u201d is at Ricco\/Maresca through April 23.<\/em><\/p>\n

Dan Piepenbring is the web editor of\u00a0<\/em>The Paris Review.<\/p>\n","protected":false},"excerpt":{"rendered":"

Trawling through eBay recently, I came across a folder of sample funeral cards from the early twentieth century. As near as I can tell, salesmen would roam from funeral home to funeral home peddling these to undertakers, who would in turn press them on bereaved families. They were standard thank-you notes, essentially\u2014\u201cThe family of _________ […]<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2384],"tags":[15177,35,2046,21491,14255,2186,10672,21487,13194,7676,7523,13707,1092,21488,9295,13916,4154,21486,16601,21490,18875,30,21489,13704,2160],"class_list":["post-95469","post","type-post","status-publish","format-standard","hentry","category-look","tag-americana","tag-art","tag-business","tag-consumers","tag-customers","tag-death","tag-dying","tag-frank-maresca","tag-funerals","tag-galleries","tag-graves","tag-headstones","tag-indiana","tag-memoribilia","tag-names","tag-openings","tag-paintings","tag-riccomaresca","tag-sales","tag-salesmen","tag-surnames","tag-terry-southern","tag-the-loved-one","tag-tombstones","tag-w-h-auden"],"acf":[],"yoast_head":"\nMemento Mori: How Salesmen Sold Tombstones in the 1920s<\/title>\n<meta name=\"description\" content=\"A new exhibition at Ricco\/Maresca Gallery takes an unexpected look at the marketing of death in the last century.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2016\/03\/10\/memento-mori\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Memento Mori by Dan Piepenbring\" \/>\n<meta property=\"og:description\" content=\"March 10, 2016 \u2013 Trawling through eBay recently, I came across a folder of sample funeral cards from the early twentieth century. 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