#no title by frans hals

[vintageviewmaster]

Caption: PAINTINGS OF VAN GOGH, GAUGIN-- KROLLER-MULLER MUSEUM

Booklet Description: 20 KROLLER-MULLER ART MUSEUM, in Veluwe Park, is the finest of its type in Holland. On display are canvasses by Gaugin and other famous artists. But above all is the marvelous collection of 260 paintings and drawings by Vincent van Gogh. Holland has given the world some of its greatest artists. Frans Hals, Pieter de Hooch, Jan Steen, and Jan Vermeer are but a few. Rembrandt's Night Watch is matched in fame only by da Vinci's Last Supper, and Michelangelo's Last Judgment.

Brand: View-Master Packet Title: Holland Reel Title: Holland Reel Subtitle: N/A Reel Number: B 1903, Reel Three Reel Edition: N/A Image Number: 20 Date: Undated

[ifseenoendinis]

the library had A Village Life so I thought I would take it home to reread, bc it rlly clicked when I read it the last time. It's a poet deciding to inhabit a world like the kind you'd find in an Italian film from just after the war on up until the 60s or 70s. beautiful and destitute. Or it's like the fact that she apparently wrote the title poem with the word 'escarpment' in mind, from reading a John Berger novel that contained that word (—just to think of what Berger writes about in Ways of Seeing, the Frans Hals paintings of the administrators of the alms house...destitution, subtle light, savagery, decorum, 'the way of the world,'...drunkenness, tragicomedy...).

even just that opening poem, "Twilight," like "Final Soliloquy of the Interior Paramour"'s first line "Light the first light of evening"—but instead of opening with that, the fall of day according to this character who is barely peripherally associated with others, the way the poet is to her characters, the way a novelist is to his characters and his story and his village setting: "he works at his cousin's mill"—there's something really bereft about these attachments. Glück's narrator claims a first-person position in the poem and almost takes over for the character, as though Glück is saying, I have the power to do it, for a while, to disappear into narrative as into sleep, or death, and I will, because as a poet that's what one does. Narratives are dreams. Sentences are dreams. Or they’re what happens when you light the candle. 'Artificial' light. Light the first light of evening. Then see what happens

[weirdbird74]

i made a thing (title isn't *100%* accurate but i tried my best)

(also the frans hals painting i shopped if anyone wants to use it)

[marcinwojcik]

The Concert - Judith Leyster oil painting

Judith Leyster

(July 28, 1609 – February 10, 1660) was a Dutch painter of the Baroque period.

#OnThisDay - Judith Leyster was born on July 28th. In Haarlem, The Netherlands.

On Friday before the weekend, a painting suits her - The Concert was created around 1633.

She was a student of Frans Hals in Haarlem. In 1633, as the first woman, a master's title in the Haarlem guild of St. Luke. In 1636 he married Jan Miense Molenaer, a painter of genre scenes (ca. 1610-1668). It runs a shared studio, works with these similar models and props. She painted genre scenes, portraits and flowers. The Utrecht Caravaggists (Hendrick Terbrugghen, Gerrit van Honthorst) and Frans Hals had a great influence on her painting. The painting is in the National Museum of Women in the Arts Washington, United States.

[makeowndestiny]

Do you ever just think about Cooper family dynamics and how Betty would try to work so hard to break the cycle not only for the twins sake but for her own future kids?

Cause like obviously growing up she was Hal's favorite. He was trying to groom her to be the family's next great killer. And then Polly goes and becomes a teen mom which makes Alice then fixate on Betty too cause she can help maintain the perfect Cooper family image which starts to make Polly turn against Betty since Polly is now essentially shuned by her parents. Then Hal is captured and Polly and Alice join a cult. Betty and Cheryl break the twins out of said cult and it's up to these two newly found out to be cousins who initially hated each other to now raise the twins. I feel like this is something that actually brings Betty and Cheryl closer together cause they also realize just how crazy their moms are and even how much they've both gone through and there's really nothing like family trauma bonding.

Now here's where I go into my head canons and away from the show. After Betty graduates high school, she joins Polly and the twins out in San Fran. All while the twins grow up Betty ensures that the twins feel like they can come to her about anything and that she truly is looking out for the twins. This is not to say that I don't think that Polly isn't a good mom. I'm sure after getting some help and reprogramming her brain from cult life, she really is doing the best she can but she still has some of that resentment towards Betty. Now that the twins are older and entering into their teen years (based on where I've aged Betty to) it's clear to Polly that once again Betty is being favored over her. (Polly goes back and forth between being the sister and partner in crime that Betty remembers from when they were kids to being Alice 2.0)

The sisters fight about this often but I think that only after like the third fight about it (Betty can give people a whole lot of chances - she's working on it especially when it comes to those that probably don't deserve anymore chances) Betty yells how she never wanted to be the favorite anyway and how if Polly wants to be the favorite so bad she can have that title and winds up leaving, staying at a friend's and looking for her own place. This is also when she starts the countdown to when the twins graduate because once they're on their own, she really does plan on going no contact with both her sister and her mom because it really is just not good for her mental health especially when she's working to become a successful investigative journalist.

[asbfyi]

Lecture

Anna-Sophie Berger: Wealth & Propriety

Tuesday, 06.12.2022, 7 pm, Dürerstraße 10, 60596 Frankfurt am Main, aula

Wealth & Propriety is the title of two of Anna-Sophie Berger's most recent exhibition projects. They are accompanied by an image of a stick-figure wearing a dress on which arrows are drawn like axes, labeled with the designations "wealth" and "propriety". The lecture will explore these terms literally and formally as they relate to art and to Berger's practice.

Anna-Sophie Berger (b. 1989, Vienna) is an artist living and working in New York and Vienna. She was trained in fashion and creates work that connects individual perception and intimate use with questions of material reality as part of socio-economic circulation and consumption. Berger has had solo exhibitions at Bonner Kunstverein (2020); Cell Project Space, London (2019); MUMOK, Vienna (2016); Kunsthaus Bregenz (2016); Ludlow 38, New York (2015); White Flag Projects, St. Louis (2015); and Belvedere21, Vienna (2014); among others. She has recently participated in group exhibitions at the Pictures Collection of the Academy of Fine Arts, Vienna (2022); The Glucksman, Cork (2022); MACRO Museum, Rome (2021); MAK, Austria (2019); Kunsthalle Wien, Vienna (2019); Frans Hals Museum, Haarlem (2018); S.M.A.K., Ghent (2018); Contemporary Art Centre, Vilnius (2018); Kestnergesellschaft, Hannover (2017); Kunstverein München, Munich (2017). She is the recipient of the 2017 Ars Viva Fine Arts Prize in Germany and the 2016 Kapsch Contemporary Art Prize, Austria.

The lecture will be held in English language.

[fuzzysparrow]

Amongst the many paintings at the Wallace Collection in London hangs a portrait titled The Laughing Cavalier. Whilst the man is unnamed, an inscription in the corner reads “aetatis suae 26, anno 1624,” which reveals the sitter was 26 at the time of painting in the year 1624. Despite its title, the sitter probably had no connection with the militia but was instead a wealthy civilian. He is also not laughing, but smiling. Some art historians suggest the sitter is the Dutch cloth merchant Tieleman Roosterman (1598-1673), who the artist painted in 1634 at the age of 36. Yet, who is the artist? It is, to quote the Wallace Collection, the “highly gifted portraitist, Frans Hals.”

[gagosiangallery]

John Currin at Gagosian 541 West 24th Street, New York

August 16, 2021

JOHN CURRIN Memorial

September 14–October 30, 2021 541 West 24th Street, New York __________ There’s the passing moment, and then there’s eternity. Two different kinds of time in one painting. —John Currin Gagosian is pleased to present Memorial, an exhibition of new paintings by John Currin. This is his first solo exhibition at the gallery in New York since 2010. Sophisticated in technique and perverse in subject matter, Currin’s portraits conflate high and low culture in a teasing blend of satire and homage. His figures—predominantly female and often wildly exaggerated—have diverse sources, from pornographic pinups to old master paintings. In their extreme mannerism, they combine the beautiful and the grotesque, the sacred and the profane. A series of startling new paintings begun in 2020 finds Currin bringing his musings on intimacy, eroticism, and feminine and masculine identities into a fresh context that expands his repertoire of art historical references while returning to the explicitly sexual imagery of his earlier work. In these so-called “memorials,” statuary figures are rendered in alabaster tones; warm flesh is replaced with cold trompe l’oeil stone in a confrontation between the sordid and the stately that diverts the traditional medium of public art to unexpected ends. Currin uses grisaille, a monochrome technique identified with Jan van Eyck and other artists, to evoke the texture of marble. He has spoken of the method as imparting to figures a funerary aspect, suggesting a meditation on death—or the demise of eroticism—and a look back at his own earlier work.

Pinup (2021) depicts a solitary female nude draped in rags and with her arms raised provocatively behind her head. Her gaunt contours, however, undermine the curvaceous archetype suggested by the painting’s title; and rather than being tantalizingly available, she is contained within a boxlike niche. Sunflower (2021) also isolates its female subject within the contained space of an alcove, with only the large red flower that she holds beginning to escape its painted confines. In Mantis (2020), one woman perches atop another in an awkward pyramidal pose borrowed from an erotic comic book that also suggests the angular form of the titular insect. The work takes further cues from van Eyck’s Annunciation Diptych (ca. 1433–35) by depicting a knee and a foot that project beyond the frame. Mantis, like many of these new works, engages with Northern European Mannerism, a movement known for its juxtaposition of dramatic, stylized poses with architectonic solidity. Reanimating the aesthetic of Lucas Cranach the Elder and Cornelis Engebrechtz, Currin brings dynamic, historicized figures into contact with a distinctly modern view of sexuality and the human body. He further complicates his graphic subject matter by giving many of the central figures the facial features of his wife, the artist Rachel Feinstein, a perpetual muse throughout his career. Through this visual invocation of his most enduring subject and model, Currin’s paintings prompt a complex entanglement of personal, societal, and historical narratives. In conjunction with Memorial, an interview with the artist by Natasha Stagg will appear in the Fall 2021 issue of the Gagosian Quarterly. John Currin was born in Boulder, Colorado, and lives and works in New York. Collections include the Museum of Modern Art, New York; Whitney Museum of American Art, New York; Hirshhorn Museum and Sculpture Garden, Washington, DC; Art Institute of Chicago; Des Moines Art Center, IA; Walker Art Center, Minneapolis; Museum of Contemporary Art, Los Angeles; Tate, London; and Centre Pompidou, Paris. Exhibitions include Works on Paper, Des Moines Art Center, IA (2003, traveled to Aspen Art Museum, CO); Museum of Contemporary Art, Chicago (2003–04, traveled to Serpentine Gallery, London; and Whitney Museum of American Art, New York); DHC/ART, Montreal (2011); John Currin meets Cornelis van Haarlem, Frans Hals Museum, Haarlem, Netherlands (2011–12); Paintings, Museo Stefano Bardini, Florence, Italy (2016); and My Life as a Man, Dallas Contemporary (2019). _____ John Currin, Mantis, 2020 (detail), oil on canvas, 68 × 36 inches (172.7 × 91.4 cm) © John Currin. Photo: Rob McKeever

[cjjasp]

#FineArtFriday: Shrovetide Revelers by Frans Hals ca. 1616

#FineArtFriday: Shrovetide Revelers by Frans Hals ca. 1616

Artist: Frans Hals  (1582/1583–1666) Title: Shrovetide Revelers Genre: genre painting Date: circa 1616–17 Medium: oil on canvas Dimensions: 51 ¾ × 39 ¼ in. (131.4 × 99.7 cm) Collection: Metropolitan Museum of Art What I think about this painting: This was a lurid scene at the time it was painted and is still lurid today. The sole female portrayed is a girl dressed in the finest of garments,…

[introvertguide]

The Apartment (1960); AFI #80

The next film on the list that we reviewed was the one of the last black and white films to win best picture, The Apartment (1960). The film actually held the title of last B&W Best Picture winner for 50 years until The Artist came along in in 2011. Along with Best Picture, the film was nominated for 10 Oscars and won Best Director, Best Screenplay, Best Art Direction, and Best Editing. The film also won Best Picture from the Golden Globes, the BAFTAs, the Director’s Guild Awards, and the Critic’s Circle Awards. Truly a great synthesis of acting, directing, cinematography, music, and story, this movie is one of the lesser known greatest films of all time. I have more to say about this film, but I want to go over the story in all of its excellence. But first...

SPOILER ALERT!!! THIS COMEDY HAS LEGITIMATE SURPRISES AND SUBJECT MATTER THAT WOULDN’T FLY TODAY!!! TRULY A GREAT FILM THAT NEEDS TO BE SEEN!!! I STRONGLY SUGGEST WATCHING IT INSTEAD OF JUST READING THE STORY LINE!!!

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An opening run of establishing shots with a voice over by the main character lets the audience know that he is a drone accountant at a giant firm with little chance to move up in the world. C.C. Baxter (Jack Lemmon) is a lonely office drudge at a national insurance corporation in New York City. He has lucked out and found a way to leverage his home in order to climb the corporate ladder. Baxter allows four company managers to take turns borrowing his Upper West Side apartment for their extramarital liaisons, which he manages with a detailed schedule. Baxter has not seen any movement, but he is constantly offered the promise of a promotion since he is a “team player.” 

One of the serious down sides of this ploy is that his apartment is in constant use and the bosses are making a mess and drinking all his liquor. C.C. has no place to go some nights so he stays and works late. Because C.C. is constantly going in and out and people can hear women in his apartment, he is starting to develop a different kind of reputation with the other tenants. While unable to enter his own apartment when it is in use, his neighbors assume that their neighbor is a playboy bringing home a different woman every night.

C.C. is able to get glowing performance reports from his four managers and he is able to submit them to the personnel director, Jeff D. Sheldrake (Fred MacMurray), in hope of a promotion. Sheldrake promises to promote him, but demands that he also receive use of the apartment for his own affairs, beginning that night. As compensation for such short notice, he gives Baxter two theater tickets to The Music Man. After work, C.C. asks Fran Kubelik (Shirley MacLaine), an elevator operator in the office building, to go to the musical with him. She agrees but goes first to meet with a "former fling," who turns out to be Sheldrake, and let him know there will be no more meetings. When Sheldrake dissuades her from breaking up with him and promising to divorce his wife for her, they go to the apartment as poor Baxter waits forlornly outside the theater.

Later, at the company's raucous Christmas party (there is dancing on the tables and the lamest strip tease of all time), Fran is told by Miss Olsen (Edie Adams), Sheldrake's secretary, that Sheldrake has also had affairs with her and other women employees. Later at Baxter’s apartment, Fran confronts Sheldrake with his lies. Sheldrake maintains that he genuinely loves her, but that he has no intention of splitting up with his wife. He then leaves to return to his suburban family as usual and Fran is so depressed that she finds sleeping pills in the apartment bathroom and attempts suicide.

Baxter learns through finding a dropped hand mirror that Fran is the woman Sheldrake has been taking to his apartment, so he goes to a bar and lets himself be picked up by a married woman. When they arrive at his apartment, he is shocked to find Fran in his bed, seemingly dead. He sends his pick-up away and enlists the help of his neighbor, Dr. Dreyfuss (Jack Krushen), to revive Fran without notifying the authorities. I should not laugh, but it is pretty funny that the doctor goes straight to slapping Fran in the face to wake her up. The actors did not hold back; he is slapping her in the face really hard, so much so that you can tell her cheeks are reddening even in black and white. Baxter makes Dreyfuss believe that he was the cause of the incident and, scolding his neighbor for his apparent philandering, Dreyfuss advises him to "be a mensch, a human being."

As Fran spends two days recuperating in the apartment, C.C. takes care of her, and a bond develops between them, especially after he confesses to having attempted suicide himself over unrequited feelings for a woman who now sends him a fruitcake every Christmas. While they play a game of gin rummy, Fran reveals that she has always suffered bad luck in her love life. As Baxter prepares a romantic dinner, one of the managers arrives with a woman. Although Baxter persuades them to leave, the manager recognizes Fran and informs his colleagues. Later confronted by Fran's brother-in-law, Karl Matuschka, who is looking for her, the managers direct Karl to the apartment out of jealousy. At the apartment, Karl's anger at Fran for her behavior is deflected by Baxter, who again takes responsibility. Karl punches C.C. (and interviews with Lemmon revealed that the punch did land), but when Fran kisses him for protecting her, he just smiles and says it "didn't hurt a bit."

Sheldrake learns that Miss Olsen told Fran about his affairs, so he makes the poor choice of firing the woman who knows of all his dealings, and she retaliates by meeting with Sheldrake's wife, who promptly throws her husband out. Sheldrake believes that this situation just makes it easier to pursue his affair with Fran. Having promoted C.C. to an even higher position, which also gives him a key to the executive washroom, Sheldrake expects Baxter to loan out his apartment yet again. Baxter gives him back the washroom key instead, proclaiming that he has decided to become a mensch, and quits the firm.

That night at a New Year's Eve party, Sheldrake indignantly tells Fran what happened. Realizing she is in love with Baxter, Fran abandons Sheldrake and runs to the apartment. At the door, she hears what sounds like a gunshot. Fearing that Baxter has attempted suicide again, she frantically pounds on the door. Baxter answers, holding a bottle of champagne whose cork he had just popped in celebration of his plan to start anew. As the two settle down to resume their gin rummy game, Fran tells C.C. that she is now free too. When he asks about Sheldrake, she replies, "We'll send him a fruitcake every Christmas." He declares his love for her, and she replies, "Shut up and deal."

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This film is one of the most praised movies of all time, but it is not one of the most generally well known. This is probably due to the subject matter, although It’s A Wonderful Life also deals with suicide and is one of the America’s most popular family films. The problem is most likely that extra marital affairs by big company management as a normal thing was highly frowned upon. With the whole #MeToo movement, it seems that this kind of philandering culture might very well have been a known problem for decades. A movie based around the premise that office managers need a nice place to have sex with secretaries and elevator girls would not have been acceptable under the Hays Code. This is also the second film on the AFI list where Fred MacMurray plays a bad guy before being the understanding patriarch on My Three Sons and the first person honored as a Disney Legend in 1987. Fun fact, MacMurray was an uncredited extra in a film called Girls Gone Wild in 1929.

Billy Wilder knew that this was going to be a divisive film due to content, but he also had the confidence that everything would work out following the massive success of his previous film, Some Like It Hot. Wilder had considered a film based on adultery back in the 1940s but was unable to get funding at the time due to the Hays Code. The film was also based on a real life Hollywood drama in which an agent was shot by a producer over an affair (in which a low level employee apartment was used) as well as a friend of a co-writer who returned home to a dead ex-girlfriend following a break-up. 

It is amazing to think that this film is described as a comedy. There are office politics in which mid-level managers use local celeb status to take advantage of their subordinates. There are half a dozen cheating husbands that string along their affairs. There are characters so hurt that they would rather die than deal with what is done with them. There are raging parties at work where everyone gets massively drunk and dance on the desks. Women are treated like objects that either need to be protected with violence or thrown away. And yet the film is legitimately fun with characters that are worth rooting for.

Some of the success rides on the fabulous acting of Jack Lemmon and Shirley MacLaine and the witty dialogue written by I.A.L. Diamond. In fact, the dialogue and limited characters feels a lot like a stage play, which come to fruition in the form of Promises, Promises on Broadway by Burt Bacharach, Hal David, and Neil Simon. Dealing with real sets and locations, however, resulted in some colds and sickness since the actors were really out in the New York snow. Some other realism in the film came from both lead actors taking blows for the film: Shirley MacLaine got proper slapped by the doctor and Jack Lemmon was really punched by the brother-in-law.

A stand out aspect for me in this film which I talk up quite a bit is the cinematography. I have used many screen grabs from the film and used them as my avatar. I identify with the feeling of being used for something which made a mid manager look good while allowing them to do bad things. In fact, I am sure that everyone has felt like a Baxter at some point, and it is great to see him stand up for himself. Here are a couple of screen grabs (besides the top photo above) that I have used:

That lonely man in the middle of countless empty desks, that look of frustration when others are using your things to live a better life than you, and that time that love makes utility become fun and gadgets seem pretentious. It is very easy for me to get lost in how much I love this film. It has been far and away my favorite find from the AFI Top 100 between when I first saw the film in 2014 and now.

So, should the film be on the top 100 list? It has the awards and the history along with being a fantastic film. Of course it belongs on the list. Would I recommend it? Yes. This film is the type that makes people like me want to go through lists like this. I had never heard of the film in 2014 and it floored me how good it was. Each time I watch I appreciate it more, and the whole film project becomes well worth my time and effort. This film is so good, it affirms my life choices. I invite and implore you to check it out for yourself.

[harvard-art-museums-photography]

X-radiograph(s) of "Portrait of a Man", Harvard Art Museums: Photographs

X-Radiograph Description: X-radiograph; Negative; Detail : head Burroughs Number: 993 X-Radiograph(s) of: Artist: School of Frans Hals Title: Portrait of a Man Description: Canvas (stretcher) Owner: Tuckerman Collection Harvard Art Museums/Straus Center for Conservation and Technical Studies, Alan Burroughs Collection of X-Radiographs Size: film size: 14 x 17

https://www.harvardartmuseums.org/collections/object/344701

[kierabuckman]

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[itslaurenmae]

@iowastubborn asked: “I am curious, what alongside CitWs has caught your interest and ignited your passions lately?”

Tylor, you are the best for sending me these asks. I'm sorry my inbox ate your ask and I accidentally deleted my draft and that it's taken me like, two weeks to respond to this.

The short answer is Shakespeare and other early 2010s-Whedon projects.

First things first: Shakespeare.

A few weeks ago, I was talking with a good friend of mine about how I was missing dancing and performing. She told me about a Facebook group that a few people from different theater companies in Fresno had made - doing readings of all of Shakespeare’s plays on Zoom: one comedy (Monday nights), one tragedy (Wednesday nights), and one history (Friday nights) each week. I lurked for a few days before putting my name in to read the Chorus in Romeo and Juliet - I've always loved those opening monologues.

Backing up a bit - it had been years and years since I’d actually read anything by Shakespeare. I majored in English in college. I watched the first series of The Hollow Crown (with Ben Wishaw as Richard II, Jeremy Irons as King Henry IV and Tom Hiddleston as Prince Hal/Henry V) back in 2014 or 2015 - the first time I felt like I enjoyed watching any of the histories. 

I've always loved Baz Luhrmann's 1996 Romeo + Juliet. You know the one, with Leonardo DiCaprio and Claire Danes. It's in my top 5 favorite movies of all time (the rest are - as of now - The Cabin in the Woods, Pride and Prejudice {2005}, Lars and the Real Girl, and Lord of the Rings {which I know is totally cheating, since that's a trilogy}).

I participated in that first reading of Romeo and Juliet and it just felt so good - to be reading Shakespeare again, to be listening to Shakespeare again, to be enjoying Shakespeare with other people again.

I had the pleasure of participating in two readings this past week - Troilus & Cressida and Henry V (which might be my new favorite history play). I also got to read Horatio in Hamlet, which was honestly a dream role. This week, I get to participate in Richard III, reading Queen Elizabeth.

As a supplement to these informal readings, I've been consuming a lot of Shakespeare-related media, which ties nicely into my second source of inspiration, early 2010s Whedon projects.

To be completely frank, since rewatching Cabin in the Woods, my latent crush on Fran Kranz has returned with full vengeance, so that's definitely informed a lot of the things I've been consuming. My copious stalking led me to discover he's currently in post-production on his directorial debut, a drama titled Mass, that will feature Jason Isaacs and Martha Plimpton.

I rewatched Joss Whedon's Much Ado About Nothing, which is still my favorite comedy. It absolutely holds up on rewatch. Fran plays Claudio in that one - he also plays Bottom in a 2018 adaptation of A Midsummer Night's Dream that totally feels like the absolute fever dream that play really is - definitely worth a watch.  

I've also rewatched/finished watching Dollhouse for the first time. I think I'd started that one back in 2014 or 2015, saw the first season, and then gotten distracted and never finished it/watched the Epitaphs or any of the second season.

It's not a perfect show, but it's so damn good and frankly, criminally underrated. Episode One of Season Two: Vows, features one of the best scenes I've ever seen on a television show. It's between Fran's character, Topher Brink, and Amy Acker's character - and it is Shakespeare-levels of poetic, so good and painful.

My HEART. I’m in agony and I’m not mad about it.

So, I've been consuming a lot of content. And! I've actually been creating stuff again, which feels so good.

I made a playlist.

I wrote a fic rec post. 

May also make a podcast rec post, since I’ve been listening to a lot Shakespeare podcasts to supplement my participation in these readings.

I found a couple of Reylo one-shots I wrote back in 2018 and never posted, so I'm checking those for grammar today and will post them.

It's like my creativity goes underground for long periods, resurfaces occasionally, and then goes fallow again. I wish it was something I could rely on more, but I think I'm not able to because of the demands my life and life choices put daily on my time and my energy, but that's perhaps a post for another day. 

It feels good to be in a consume/curate/create cycle right now, so for now, I suppose that’s enough.

Please feel free to keep dropping stuff into my inbox. It really is nice to be asked these kinds of things.

[wherevergraciegoes]

Hello! I’m Sarah, the cute one on the left (the one on the right is also cute), and I will be your guide on this tour.

The Alte Pinakothek, or old painting museum, houses one of the most famous collections of Old Masters paintings in the world. To say I was excited is an understatement! Before getting to Munich, I knew this is somewhere I wanted to visit as soon as possible. Having worked in a major art museum for two years, walking in, one always feels like home.  

The grand building that houses these works of art was built between 1826 and 1836, which might explain why the toilets where under the stairs, very Harry Potter-esque. After the Second World War, restoration had to be done and it was reopened in 1957.

The major attraction they are currently promoting is the loan of Vermeer’s Woman in Blue Reading a Letter (1663-64). And it was beautiful! Given that there’s only about 34 Vermeer’s in the whole world, the fact that one is currently being loaned to the Alte Pinakothek while we are here is fantastic.

Another great Dutch master was Frans Hals, who’s portrait Willem van Heythuysen(1625), was hanging near by.

Possibly the most shocking moment was when I stumbled upon a meager painting in the corner of a room. Given its size and location I didn’t think too much of it until I got closer. Unlike some of the major pieces in other rooms, this one had no detailed info plaque, simply one that gave the artist’s name and title. Not only was this a major artist, it’s possibly the most famous artist to ever walk this earth. Photo number three above shows Leonardo da Vinci’s Madonna of the Carnation (c.1473). It is widely believed that this is one of the first, if not the first, painting Leonardo da Vinci (1452-1519) ever created. 

Hands down the most famous painter to come out of Germany is Albrecht Dürer. His self-portrait from 1500 is above and try not to get lost in those eyes.

The Alte Pinakothek has three full rooms of massive (see Grace for size reference) Peter Paul Ruben works. They were breathtakingly beautiful, and when a painting is as large as these were, you could really see that artist’s hand in his works.

The fact that they had one ninja turtle (Leonardo, Michelangelo, Raphael, and Donatello) was amazing, but the fact that they have two is mind-blowing! There’s a little controversy over this Raphael work, The Holy Family from the House of Canigiani (c. 1505/1506), due to its conservation work. 

Finally we have two Rembrandt paintings. The museum had at least ten works by Rembrandt but these two sum it up. A biblical work, Descent from the Cross (1632-33), and a self-portrait from 1629. It was fascinating to see these works knowing that the Denver Art Museum will be getting some for the upcoming Rembrandt exhibition opening this fall. 

All in all it was an amazing collection, an amazing museum, and an amazing day! 

I send my love to you all and remind you to go look at some art and fall in love with with as much as you can while you’re here on this earth.

-S

[newszada]

Dutch police say Frans Hals portray stolen for third timehttps://www.newszada.com/wp-content/uploads/2020/09/Dutch-police-say-Frans-Hals-painting-stolen-for-third-time.jpeg The portray titled 'Two Laughing Boys'...https://www.newszada.com/dutch-police-say-frans-hals-portray-stolen-for-third-time/?feed_id=447429&_unique_id=5f70a4a2ac44f

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(Sam Jones/Associated Press)

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