#closed ; pieter

[regxlty]

@moltengcld - layla

Was this what depression was like? To experience nothingness yet also everything at once? He felt powerless despite his family's new status, to protect his loved ones, his friends, hell just about anyone he felt like he couldn't protect. Sitting outside, he could only watch as the wind blew through the trees and the cows went out to pasture. Running a hand over his face, he could feel another presence nearby him and he prayed it wasn't anyone wanting something from him. "Please say who you are, I don't feel like turning around"

[watchingalotofmovies]

Close to Vermeer

Close to Vermeer    [trailer]

Behind the scenes look at how the largest Vermeer exhibition was put together that took place during the first half of 2023 at the Rijksmuseum in Amsterdam.

It's unlikely that a painting will ever make me feel as highly emotional as it happens more than once to some experts in this doc. But it's still fascinating to get a few impressions of what's going on in preparation of such an exhibition, and to listen to people with expert knowledge.

There's quite a bit of tension towards the end when it comes to the question if one painting is truly from Vermeer. The organisers from the Rijksmuseum "overrule" the Washington experts, who reached the conclusion about their own Vermeer that most likely it isn't a real one. I wonder what the female conservators from the US were thinking when they learned about that decision.

It's a reminder how much uncertainty is involved when it comes to the history of old paintings. Even if the stakes aren't always as high as the recently discovered "Leonardo".

The collector Thomas S. Kaplan remains an odd figure. He seem passionate about what he's doing. But his name dropping of fellow billionaires and telling of anecdotes from auctions is awkward. Though unlike many other filthy rich collectors he's at least willing to frequently share his collection with the public at exhibitions.

[brie-draws]

A 2nd part of a 18782 OC lineup I did before!! Last time was my vk ocs, but here’s some others. [L->R: Momoka, Ai, Kazuki, Kaname, Pieter, Aito, Kenichi, Hachi, Arakawa, Akemi, Tama, Atsuko]

[doyoulikethis-videogame-song]

Song: Queen's Oracle Artist: Michael Salvatori, Skye Lewin, Rotem Moav, Pieter Schlosser From: Destiny 2: Forsaken

Listen on Youtube:

[aletterinthenameofsanity]

Edwin, Charles, and Monty (Human Didn't Know They Were Dating AU)

Monty is familiar with the Landscape with the Fall of Icarus. He wrote a fucking paper on it for his class on the Renaissance (his professor was way too into the High and Early Renaissance and only crammed the Dutch and the Northern Renaissances in at the end of the semester, only giving each of them a week, but Monty still picked Pieter Bruegel the Elder to write about because he’s a stubborn bitch, even if it gave him a fuckton more research to do). He’s familiar with what it’s like when a boy with wax on his wings flies too close to the sun. He’s familiar with the concept of hubris, and avarice, and pride.

But Monty didn’t know what it felt like to fly through the air, the wind between your wings, the sun kissing your skin, until now. He didn’t know what it felt like for the wax to burn away and melt itself into your skin, searing your flesh, until now.

And he didn’t know why anyone would risk such a thing until now.

Until them.

And now he can’t imagine a life in which he didn’t reach out, knowing that he would plunge off the cliff face and drown in the rocky ocean beneath.

Maybe, if he’s lucky, it’ll be a quick death, with the fall killing him instantly instead of forcing him to be pulled around in the ocean, the riptide pulling him out to slowly drown beneath the waves.

(With Monty’s luck, there’s no way that’s happening.)

-aletterinthenameofsanity, underneath the sunrise (show me where your love lies)

Twice the dreams, but half the love

Be careful what you bottle up

The chemistry is a mess, it seems

But me, I'm still a sunbeam

Tell me, when the party ends

Will you still love who I am, I am?

Scar-crossed lovers forever

I'm checking myself out forever

I'm saving this all for later

-Fall Out Boy, Heaven, Iowa

@deadboy-edwin @icecreambrownies @anonymousbooknerd-universe @ashildrs

@tragedy-machine @just-existing-as-you-do-blog @orpheusetude @mj-irvine-selby

@pappelsiin @itsbitmxdinhere @rexrevri @sweet-like-h0ney-lavender @saffirez

@the-ipre @sunnylemonss @days-light @agentearthling @helltechnicality

@sethlost @catboy-cabin @secretlyafiveheadeddragon @vyther15

@anything-thats-rock-and-roll @queen-of-hobgobblers @every-moment-a-different-sound

@nix-nihili @mellxncollie @tumblerislovetumblerislife @lemurafraidofthunder

[fascinatingeurope]

🎨 Pieter Franciscus Peters - On the Coast of Menton, 1870 Menton is a town in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur region on the French Riviera, close to the Italian border.

[prettyoddfever]

the sun/moon theory doesn’t actually make sense

The pictures above are from 9/23/06, which was the only time that Ryan wore blue makeup at the same time that Brendon wore yellow makeup. The guys weren’t the ones who came up with their look, either. That makeup came from Pieter M van Hattem’s heavily styled photoshoot earlier that day and then the band wore the leftover makeup to the Boost Mobile RockCorps performance. 

Now fast forward almost a year to when they were working on Pretty. Odd. songs...

The Pretty. Odd. lyrics had a lot of weather references because the band wrote most of the album while sitting in Ryan’s backyard on drugs and looking at clouds or whatever you see at night in the desert. Brendon told the Boston Globe that “I’m sure if the weather was really horrible, [the new album] might’ve sounded different. It definitely needed to be what it was for us to write those songs.” Brendon also said: 

“We spent a lot of time outside when we were writing the record. We wrote it in the hottest month of the year in Las Vegas. We had a weird sleeping schedule, too. We pretty much stayed up all night and slept during the day just because it is so hot there. So we spent a lot of time looking at the stars and enjoying and experiencing the weather so I think that had a very direct influence on us.”

Then weather and clouds and nature became part of the Pretty. Odd. era’s early theme that the band talked about (also look at the custom car they designed, or the set design for the Honda Civic Tour where Ryan said they wanted to make it feel like the show was happening outdoors). Flowers, weather, the sun & moon, and nature in general were part of that era because that’s what influenced the band while they were writing the songs (and also Jon Walker exists lol. he had a major influence on that album). A big theme with their songwriting in summer 2007 was to keep things simple & lighthearted.

WTDMTN was one of the early songs that they wrote that summer (the band played it for the first time on August 5th). Their interviews made it sound like the guys just watched night meet day a lot that summer, took some drugs, and wrote a cute story. Jon seemed so happy with that song’s fairy tale quality too! He said “We had this idea that the day and the night met each other… it’s basically a fairytale story about two times a day falling in love with each other and the world being day & night at the same time consecutively somehow.” Ryan said this song was like a kid’s story. He had also spent over half a year working on the cabin album’s fairytale-esque storyline (with Spencer’s help) and it had become so elaborate that he was considering writing an accompanying book. Just because they scrapped the cabin album and majorly switched directions for their second album doesn’t mean they lost all of their previous interests... it made sense that they might still gravitate towards a fairy-tale quality a bit.

I think the idea that anything on Pretty. Odd. could actually have some Ryden subtext comes from people who weren’t closely observing the season when the band wrote those lyrics. Brendon & Ryan were not that close in the last half of 2007. Ryan was way better friends with Jon by that summer... they talked about living together, watching movies or writing songs together in the middle of the night, going bowling or to see movies, etc. They were definitely close. There were pictures of them hanging out offstage. Ryan hung out with a lot of other Vegas friends throughout 2007 too. Meanwhile, Brendon talked about hanging out with Spencer and Shane that fall. Brendon & Ryan were together when they had to do band-related events (but even a few of those moments showed a shifting dynamic between the two guys). The guys were definitely still friends! But it’s a stretch when you try to paint a picture where they were in love & obsessed with each other this season to the point of writing lyrics about each other.

The only part of all the sun/moon conspiracy stuff that even slightly works is the idea that Jon Walker might have used the reference as a code in his post-split lyrics to get his own point across (ex: then his lyrics would imply that he doesn’t need Ryan & Brendon to tell him what to do). That doesn’t mean anything beyond the fact that Jon had always been super aware of what the fandom was saying and knew how to communicate on our level. Seriously, he followed the talk online in 2006-2007 SO closely and would even leave subtle references in his journal entries to things the fandom was talking about. Sometimes he was just messing with us (example at the bottom of this post). Some fans had actual “hi Jon” icons on lj towards the end of the Fever era because most people knew he was watching. In October 2006 the PATD livejournal got set to private for a short time and Jon posted on the band’s website “whats with the live journal being down, someone fix it :(” because now he couldn’t properly creep on that particular fan community while the band was on tour lol. 

He shared SO much of his photography with fans (including in the band’s album and his picturesatthedisco photobucket) and was just way more involved with us than the other 3 guys. So any sun/moon reference that Jon might have made in his own lyrics later on doesn’t exactly prove anything about the whole Ryden sun/moon conspiracy. It only proves that Jon was still in touch with his fanbase and could use their references.

[tenderlystupendoussoul]

"Landscape with the Fall of Icarus", Pieter Bruegel the Elder (c. 1560);

"Landscape with the Fall of Icarus" (poem), William Carlos Williams (1960);

"Musée des Beaux Arts" (poem), W. H. Auden (1938);

“ICARUS”, STARSET;

“Icarus”, Bastille;

“Fun”, Coldplay;

“Sunlight”, Hozier;

“I, Carrion (Icarian)”, Hozier;

Icarus's passing is seen by Bruegel, Williams, and Auden as a minor incident in the grand scheme of existence. Williams' "quite unnoticed" serves as a reminder/memento mori of our own mortality. Dying is not such a remarkable occurrence, life moves on without us when we pass away. And sometimes all that can be heard at the end of a life is a just a brief splash sound.

"Icarus" by STARSET is about a self-destructive character. They interpret the story of Icarus as an allegory for being too self-absorbed at the expense of others. The lines "you'll never be good enough" and "you always fly right up until it burns" as well as "you'll never go through them" all allude to a tendency to constantly pursue the same route over and over no matter what.

Bastille's "Icarus" retells Icarus's story alongside a modern tragedy. The opening scene of "Icarus" shows a person preparing to "dig their own grave" and "drink themselves to death." The song continues by drawing a comparison between death and Icarus, who is "flying too close to the sun/ And Icarus's life, it has only just begun". With these lines, Bastille adapt the Icarus myth to a more contemporary setting, creating associations with tragedy and the carelessness of wasted youth.

In the song "Fun" by Coldplay, the singer likens himself to Icarus and confesses, "I know it's over before she says/ Now someone else has taken your place/ I know it's over, Icarus says to the sun". The Icarus myth is reframed by Coldplay as a tragic love story between a young person and the sun.

Hozier's song "Sunlight" describes how he is ready to die (metaphorically) in order to be with the person he views as his sunlight. While Hozier's main concern in "I, Carrion" is his lover's support, even in the face of death. The narrator's deep yearning for their lover's companionship leads them to embrace death willingly. Just as Icarus dismissed Daedalus' warning about flying too high, Hozier shows a similar disregard, blinded by love, prioritizing his over to the point of placing them over his own life.

[empirearchives]

Napoleon’s relationship and Madame de Staël

“It was certainly not a product of the groundless claim that Napoleon disliked ‘intellectual women’, a jibe repeated even by so powerful a mind as that of Pieter Geyl. His close relationship with his step-daughter, Hortense, his singular efforts in the realm of girls’ education, and the power he gave two of his sisters — Elisa, in Tuscany, and Caroline, in Naples — readily belie this. Napoleon viewed Staël in no small part with the eye of Figaro: She was a spoiled product of ancien régime privilege, the daughter of a powerful minister and financier, the wife of an aged aristocrat she played for a fool; she was just a ponce, however clever. To Napoleon, she was patronising the parvenu. As with Figaro, confrontation with such a creature could cloud the mind, but this was the exception to the rule.”

— Michael Broers, Napoleon: Soldier of Destiny

[zvaigzdelasas]

Though their relationship is relatively discreet, Israeli equipment makes up most of Azerbaijan’s arms imports, according to arms researchers. Azerbaijani officials touted Israel’s weapons as integral to their country’s success in Nagorno-Karabakh during the 2020 war.

Now, as over 100,000 ethnic Armenians have fled Nagorno-Karabakh in the latest conflict there, Israeli-Azerbaijani ties have come under scrutiny, with an editorial in Israel’s most prominent left-wing newspaper Haaretz proclaiming that the country’s “fingerprints are all over the ethnic cleansing” in Nagorno-Karabakh.[...]

Azerbaijan and Israel are close military partners. According to the Stockholm International Peace Research Institute (SIPRI), more than 60% of Azerbaijani weapons imports came from Israel between 2017 and 2020, making up 13% of Israeli exports during the same period. SIPRI research reveals that Azerbaijan purchased a wide variety of drones, missiles, and mortars from Israel between 2010 and 2020.

However, according to SIPRI senior researcher Pieter Wezeman, certain specifics are unknown about the extent of the ongoing Azerbaijani-Israeli weapons trade. “We had quite some information before 2020 and then it stops,” Wezeman said. “And that doesn’t really make sense because in 2020 Azerbaijan used a significant amount of its equipment… Most likely they have continued their relationship with Israel, but that’s about as far as we know.” The trade is believed to be particularly active in periods just before Azerbaijan has gone to war. A March 2023 investigative report by Haaretz found that flights by an Azerbaijani airline between Baku and Ovda air base, the only airport in Israel through which explosives can be flown, spiked in the months just before Azerbaijan attacked separatist positions in Karabakh in September 2020. Likewise, Haaretz reported in mid-September that the same company flew between Baku and Ovda less than a week before Azerbaijan began its latest assault in Nagorno-Karabakh. CNN reached out to the Azerbaijani Ministry of Defense and the airline in question, but did not receive a response. The Israeli Ministry of Defense, which oversees Ovda Airport, had no comment. “We don’t know what was on board, but very likely it is something related to the military equipment that Israel already has supplied to Azerbaijan before,” Wezeman said.[...]

The weapons trade between Israel and Azerbaijan mirrors their diplomatic relationship, once described in a leaked US diplomatic cable as “like an iceberg, nine-tenths of it… below the surface.” Despite decades of bilateral cooperation, Azerbaijan only opened an embassy in Israel this year.[...]

But their ties go beyond guns and ammunition: OEC figures show that Israel bought 65% of its crude oil from Azerbaijan in 2021. The countries are also believed to share intelligence on Iran, Israel’s archenemy, with which Azerbaijan shares a border and which has a substantial ethnic Azeri population that constitutes the country’s largest minority. Azerbaijan has also reportedly allowed the Israeli spy agency Mossad to use it as a hub to spy on Iran. (The Israeli Ministry of Defense declined to comment on the matter.)[...]

Oil and arms sales continue. Azerbaijan feels greater pressure from Iran whose international position is improving,” Inbar told CNN in an email. “There is no great sympathy (in Israel) for Armenia that is seen as an Iranian ally.” In a recent interview with the Jerusalem Post, Armenia’s ambassador to Israel said Israeli weapons are being fired at “peaceful civilians” despite Israeli civil society being “very pro-Armenia in the case of Nagorno-Karabakh and recognition of the Armenian genocide.” (Israel’s government does not recognize the mass murder of Armenians by Ottoman forces during World War I as genocide, fearing damage to its relationship with Turkey, the successor state of the Ottoman Empire.)[...]

In October 2020, Azerbaijan repeatedly struck the area near an electrical substation in Stepanakert using Israeli-made weapons. The former lieutenant colonel in the Artsakh Defense Army told CNN he witnessed one of these attacks personally. The diameter and depth of the crater there showed that the Azerbaijani military had used a LORA missile, he said, adding that it hit a residential building.[...]

A spokesperson for the Israeli Ministry of Defense said they had no comment when reached by CNN.

4 Oct 23

[regxlty]

@moltengcld - layla

He had yet to find her and it had been nearly a day since the attack had happened. Going stir-crazy, he checked every nook and cranny she could possibly fit into and finally, after hours of relentless searching he saw her. "Layla," he exclaimed as he ran forward and practically tackled her into a hug. "Don't ever scare me like that - are you alright?"

[deathmoth-blog]

Thysania agrippina is a species of moth in the family Erebidae. It was described by Maria Sibylla Merian in her 1705 publication Metamorphosis insectorum Surinamensium, and Pieter Cramer provided the formal description of the species in 1776. The most commonly accepted English name is the white witch. Other common names include the ghost moth, great gray witch and great owlet moth. Thysania agrippina is of interest as a competitor for title of "largest insect". This may be true by the measure of wingspan—a Brazilian specimen with a wingspan of almost 30 cm (12 in) appears to hold the record. The Atlas moth and Hercules moth, however, have greater wing areas. The white witch occurs from Uruguay to Mexico, and appears as a stray as far north as Texas in the U.S.[2] Collection dates shows no discernible pattern with respect to location or season.

One story of the derivation of the common name: early naturalists collected specimens of birds and bats with shotguns. An enormous darting flyer high in the canopy was a tempting target. Firing a cloud of pellets at a white witch moth did not necessarily bring it down, however, because the body is small relative to the wing area. The moth would sail along, an unkillable witch. This moth is of historical interest as the subject of a well-known painting by the artist Maria Sibylla Merian. Merian was an insightful naturalist who advanced the 18th-century understanding of insect life cycles; however, her depiction of the white witch life cycle does not match the actual biology of this species, as it depicts the larva of an unrelated moth.

Given the enormous geographic range of the adult, and observations that date back 300 years, it is striking that the immature life stages of this species have never been documented (notwithstanding the erroneous Merian painting). Long migratory flight is likely, given that the close relatives Thysania zenobia (the owl moth) and Ascalapha odorata (the black witch) are known for flights that reach far north of the host plant distributions. Based on the larval host plants recorded for the owl moth and black witch, the larval host plants for the white witch are probably also woody members of Fabaceae (subfamily Caesalpinioideae), possibly Senna or Cassia.

[realcatalina]

More mystery with portraits of Hasburgs

These two paintings are located in different museums, but are believed to be once a part. Currently they are labelled currently as Philip of Austria and Margaret of Austria, 1483, by Master of Legend of Magdalene.

And it's kind of a problem. Because at least the boy doesn't look like early work of this artist at all! Not even remotely close.

So other artists have been suggested instead, and for example the girl's has been most recently labelled as by Pierre Coustain.

Which doesn't make any sense either. Because while this was court artist in Burgundy, he specialized in making coat of arms and flags, sculptures etc. Like we can speculate on Pierre Coustain's involvement in these portraits(figures by Pieter van Coninxloo):

But only about the coats of arms. This guy wasn't portraitist.

...And you know me, I am nitpicker. I my motto is:

Never trust period label...because often times they are added centuries later.

So of course I checked the labels. On first glance, they seem as very genuine. This form of letters was around in 15 and 16th century.

...So I needed some help reading it, but luckily on wikipedia it was in description of paintings.

Girl's:

Gedaen Int Jaer ons here 1483 tsinen v en Jaerre/FAT LAN M.IIII.C.IIII.XX ET TROIS QUE LORS AUOIT TROIS ANS ET TROIS MOIS)

This was created in 1483 and she is 3 years and 3 months old.

(Very specific...oddly so.)

Gedaen Int Jaer ons here 1483 tsinen v en Jaerre / Fat Lan m. III c. IIII xx. z trois ou ve. an de son eage.

Once again it says year 1483, but that Philip is 3 or 5 years old.

Like how does nobody question this? You cannot be specific to month with girl, and not know how old the boy was!

Unless the label is not original at all! And likely not even done in 15th century. Because at those days, labels weren't really popular. They took off mainly in 16th century. And given the amount of mistakes I doubt Margaret nor Philip were even alive when this occured.

Because have they been, somebody would take greater care in getting it correct!

(And, If the text is from much later it is damn well-made.)

So if text is untrust-worthy, the dating of 1483 is also untrust-worthy, and then we cannot even be sure it is Philip or Margaret!

And though the boy doesn't fit Master of Legend's early work, he damn sure looks very alike to his late work! (1510-1527)

But then these kids cannot be royals from Netherlands. This is not its fashion from 16th century. We have portraits of Philip's kids raised in Netherlands, we know what they wore.

And while, yes the girl's hat looks bit like 1460-1470s male hats worn in netherlands, girls didn't wore this I checked. And given Netherlands were already back then northern capital of painters. It's very unlikely it wouldn't appear in art of that time from that country.

So possibly these are foreign royalty. But whom?

Well, artist started working around 1480/1490 and stopped about 1527. (Assuming we have correct artist.)

And the boy wears order of golden fleece around his neck. And clearly he is not adult. List of knights of Order of Golden fleece is on wikipedia and it includes when people got it and their birth year.

So finding people who got it before age of 15 in corrrect timeframe wasn't that hard.

Six candidates:

Philip of Austria (who it is currently identified as)

Henry VIII

Charles V

Ferdinand I, Holy Roman Emperor

Louis II, King of Bohemia and Hungary

Philibert of Chalon

But at age of 14 and 13, Henry VIII and Philibert are simply too old...to be depicted here. And Louis II's sister was older than he. And we know what Charles and his sisters raised in Netherlands wore.

Thus if not Philip and Margaret, the only other valiable option is Ferdinand and Catherine of Austria.

(if the list of candidates was complete...)

And it just so happens that if you put correct dimensions to these(in cm), and put them in order of birth, they don't look so weird...

Potentially this might have once been full set of siblings.

Done firstly around 1507(first four)

and rest after 1515, when Ferdinand became the member of the order.

...And if we compare what the girl wears with spanish fashion, then at least in examples from 1490s similiar hats were popular(not as much raised, but we always see them on adults. Maybe then the raise is not so high, and traluscent veils of this kind even much later(those are with cofia de tranzado)...this shape of neckline, also very popular in Spain at least around turn of the century.

In my research into iberian fashion, i didn't go that much into fashion after 1505(not in debt) and it's not ideal that I point to examples about 20 years prior to when I think it might be.

But it is a possibility, and would explain the resemblence.

...

However then we have to assume 2 more possibilities.

A) the list of knights of order of fleece was not complete...and we're missing candidates...and then once again, where does the fashion point us?...Spain in case of girl...

B) But what if the boy and girl don't belong together?

What if they just had same background(popular in Burgundian/Netherlandish court from 1450? to about 1507)

and same dimensions(by chance, or they were later cut to make them same dimensions)?

(C)what if both options? L)ist wasn't complete and boy and girl don't belong together?

Well, the boys who got orders of golden fleeces as kids were usually royalty, with whom Hasburgs had friendly relationship.

Only other option already not covered, would be either Christian II of Denmark-but he was made member in 1519-so he is on the list, as adult...

or John, Prince of Asturias and Girona. He married Margaret of Austria, in 1497 and died that same year. And Joanna married Philip of Austria in 1496.

We know Margaret's portraits were created in early to mid 1490s, likely to be sent to Spain, and probably Philip's also.

But what if Spanish send reply? And Hasburgs send their own painter, to paint Spanish royal children? That would also explain resemblence to Joanna's children. Because boy would have to be her brother, and girl Joanna herself.

Again, the boy seems to be later work of the master, but it was a workshop. It is possible one of its member simply became more prominent later in workshop's lifetime and it happened to be him who was sent to paint the boy.

And i cannot get further than this. Dendrology would be helpful here.

However as these portraits have year upon them, the institutions who own them think they have the correct date already. We can only hope they decide to test it anyway.

[doyoulikethis-videogame-song]

Song: The First Disciple Artist: Michael Salvatori, Skye Lewin, Josh Mosser, Michael Sechrist, Rotem Moav, Pieter Schlosser From: Destiny 2: The Witch Queen

Listen on Youtube:

[ritterintahlia]

Another humorous thought has happened in my mind:

In Metalocalypse (thank @ani-tu for introducing me + I still know close to nothing about it), the name of the manager is Charles Foster Offdensen.

Charles = "free man" (the only one of the whole group of characters that is free but not free, a nice irony)

Foster = "the one that takes care" (a literal description of his position in this group)

Offdensen = elements of "offer" and "offend" (as he has to offer a lot of his energy, offer himself to make sure the five musicians do not offend anyone) and, what caught my ("lingustic") eye was that his name looks a lot like this:

The authors of the book are: Charles Kay Ogden and Ivor Armstrong Richards. (Plus this cover has The Tower of Babel, the Vienna version, by Pieter Bruegel the Elder on it... yes!) A very famous theory about language published in the book is Triangle of reference:

Charles Foster Offdensen has to make meaning out of the five members´ meaning (as people try to make meaning out of a the world, which is often represented by language) + he has vaguely "Norwegian" name in the series.

I LOVE IT.

/end of the funny thought

PS: what I do not love, is Ogden/Richard´s and Malinowski´s attitudes towards English. I absolutely use it and I see it a useful tool... not a special snowflake of a language; gentlemen, get a grip.

[dutch-and-flemish-painters]

Lucas Smout the Younger - The village square -

Lucas Smout the Younger or Lucas Smaut (27 February 1671 – 8 April 1713) was a Flemish painter of coastal and country scenes who was active in Antwerp.

Like his master Hendrik van Minderhout, Lucas Smout specialized mainly in marine views, which the populated with many ships and figures.

Only a few works by his hand are known. He painted a number of coastal scenes depicting various activities relating to the return of fishing boats with their catch or the loading of vessels. They include a view of The Beach of Scheveningen (Royal Museum of Fine Arts Antwerp). This work is typical of Smout's busy compositions: it includes many groups of people and a wide range of activities taking place on the beach, such as pulling fishing boats onto the land, men hauling wood, soldiers transporting two gun barrels, fishmongers and on the far right - next to a cannon - a man drawing, which is likely a self-portrait. Smout collaborated on a beach view with Pieter Bout who painted the staffage. This work referred to as Harbour and Fish Market (Musée des beaux-arts de Quimper) possibly also represents a view of the beach and port of Scheveningen as in its composition and figures it closely resembles Pieter Bout's Selling Fish at the Beach of Scheveningen (Van Ham Auctions, 11 May 2012, Lot 518).

Smout painted some village scenes with feasts such as The village square (Christie's, 19 March 2010, Paris, lot 75) or a cavalry engagement such as A cavalry skirmish in a village (Christie's, 23 May 2000, New York, lot 279).