Room Service @ The Metropolitan Museum of Art

Sometimes I like to wander in and out of the period rooms, so elegant and opulent, so meticulously arranged down to the last detail, and imagine how it would be to live in places like these:  Formal Reception Room from the Hôtel de Tessé at 1, quai Voltaire, Paris.


Room from the Hôtel de Varengeville at 217, boulevard Saint-Germain, Paris.


The Lauzun Room (Hôtel Lauzun at 17, quai d’Anjou, Ile Saint-Louis).


Back Panels of Choir Stalls
From choir stalls made by the cabinetmaker Johan Justus Schacht with the help of twenty-one assistants for the church of the Carthusian monastery in Mainz.
Panels: oak veneered with walnut, boxwood, rosewood, ebony, maple and other woods, ivory, green-stained horn and pewter.
Figures: carved and painted limewood
Mainz, 1723-26 with additions from 1787


Would my dreams be any different under this canopy?

This armoire had me wondering how much more detail could one squeeze on a single piece of furniture: Armoire
Oak veneered with walnut and marquetry woods and set with silvered-bronze mounts
Design by Jean Brandley (active 1855-67)
Woodwork by Charles-Guillaume Diehl (1811-about 1885)
Mounts by Emmanuel Frémiet (1824-1910)
French (Paris), 1867

The central plaque of this ”Merovingian” armoire depicts the victory of the troops of King Merovech over the forces of Attila the Hun in 451. The prototype, a medal cabinet made for the Paris Exposition Universelle of 1867, is in the Musée d’Orsay, Paris. This armoire was commissioned by the cabinetmaker Diehl for his country house at Lagny.


Secrétaire à abattant
Walnut, parcel-ebonized and inlaid with various woods; mounted with gilt bronze; leather, glass, brass
Austrian, ca. 1815-20, with later additions.

Pair of side chairs
Attributed to Josef Danhauser (1780-1829)
Beech and pine wood, cherry wood veneer and ebonized mahogany; covered in silk not original to chair
Austrian (Vienna), ca. 1815-20


The Metropolitan Museum of Art

May 28th, 2017

Irving Penn || Centennial

In 2017, Irving Penn (1917–2009) would have been one hundred years old. To mark the occasion, The Metropolitan Museum of Art hosted ”Irving Penn: Centennial”, in collaboration with The Irving Penn Foundation. It was the most comprehensive retrospective to date of the work of the great American photographer.

Here are some photos of the photos (and reflections thereof) which I hope you’ll enjoy :-

Image titles:

1/ Irving Penn: Centennial
2-3/ Roleiflex 3.5 E3 Twin-Lens Reflex Camera with 75 mm Carl Zeiss Planar Lens, 1961-64. Irving Penn acquired this camera in 1964 and used it and other similar models for portrait sittings for the next four decades. It is topped with a modified Hasselblad chimney viewfinder and mounted on a Tiltall pan/tilt head above a table tripod of the artist’s own design.
4/Carl Erickson and Elise Daniels, New York, 1947
5/Charles James, New York, 1948
6/
Marcel Duchamp, New York, 1948
7/
Alfred Hitchcock, New York, 1947
8/
Dusek Brothers, New York, ca. 1948
9/
Ballet Society, New York, 1948
10/
The Tarot Reader (Bridget Tichenor and Jean Patchett), New York, 1949
11/
Black and White Fashion with Handbag (Jean Patchett), New York, 1950
12/
Vogue covers: Between 1943 and 2004 Penn produced photographs for 165 Vogue magazine covers, more than any other artist to date.
13/
Vogue Fashion Photography (Jean Patchett), New York, 1949
14/
Woman with Roses (Lisa Fonssagrives-Penn in Lafaurie Dress), Paris, 1950
15/
Girl Drinking (Mary Jane Russell), New York, 1949
16/Man Lighting Girl’s Cigarette (Jean Patchett), New York, 1949
17/
Many Skirted Indian Woman, Cuzco, 1948
18/
Cuzco Children, 1948
19/
Butcher, London, 1950
20/
Facteur (Mailman), Paris, 1950
21/
Yves Saint Laurent, Paris, 1957
22/
Francis Bacon, London, 1962
23/
Cecil Beaton, London, 1950
24/
Cat Woman, New Guinea, 1970
25/
Two Guedras, Morocco, 1971
26/
Four Guedras, Morocco, 1971
27/
Not an Irvin Penn image but the type of background he would frequently use, New York, 2017
28/
Birgitta Klercker – Long Hair with Bathing Suit, New York, 1966
29/
Clockwise from left: Ingmar Bergmann, Stockholm, 1964 – Alvin Ailey, New York, 1971 – S. J. Perelman, New York, 1962 – Tom Wolfe, New York, 1966
30/
Truman Capote, New York, 1965
31/
Justice Ruth Bader Ginsburg, New York, 1993
32/
Three Poppies ‘Arab Chief’, New York, 1969
33/
Girl with Tobacco on Tongue (Mary Jane Russell), New York, 1951

The Met

May 28th, 2017

Meet Peder Balke || Painter of Northern Light

The North Cape by Moonlight, 1848
Oil on canvas


Finnmark Landscape, ca. 1860
Oil on canvas


Seascape, 1870s
Oil on wood


Northern Lights, 1870s
Oil on wood

To produce this striking image, Balke first applied a thin layer of paint for the sky and then a thicker one for the water. Subsequently, he removed paint with a serrated device to reveal the white ground layer, producing the effects of the lights. Finally, he added details such as the coastline and boats with a brush. 


Seascape, ca. 1845
Oil on canvas, mounted on masonite

Majestic mountains and immense, churning clouds are indifferent to the course of a steamer chugging along the coast, trailed by gulls. This work, a tour de force of Balke’s ability to dematerialize form through the use of a limited palette, strikes a balance between painterly effect and a poetic vision that aspires to the Sublime. 


Moonlit View of Stockholm, ca. 1850
Oil on panel


Incredibly, I had to cross the Atlantic to see these wonderfully poetic works and even learn about the existence of this artist.

Images from an exhibition of 17 paintings by Peder Balke, presented at The Met in 2017.

May 28th, 2017

A Madman Distilling his Brains

The Robert Lehman Wing was built not only to showcase the vast Lehman Collection – donated to the museum by the family – but parts of it were made to look like rooms recreating the Lehman family residence. 

El Greco (Domenikos Theotokopoulos)
Saint Jerome as Scholar, 
ca. 1610

Oil on canvas


Goya (Francisco de Goya y Lucientes) 
Condesa de Altamira and Her Daughter, María Agustina – 1787–88
Oil on canvas


Jean Auguste Dominique Ingres  
Joséphine-Éléonore-Marie-Pauline de Galard de Brassac de Béarn (1825–1860), Princesse de Broglie
Oil on canvas

Jean-Auguste-Dominique Ingres, the neo-classical French artist par excellence, painted this masterpiece toward the end of his life when his reputation as a portraitist to prominent citizens and Orléanist aristocrats had been long established. Pauline de Broglie sat for the artist’s final commission. Ingres captures the shy reserve of his subject while illuminating through seamless brushwork the material quality of her many fine attributes: her rich blue satin and lace ball gown, the gold embroidered shawl, and silk damask chair, together with finely tooled jewels of pearl, enamel, and gold. The portrait was commissioned by the sitter’s husband, Albert de Broglie, a few years after their ill-fated marriage. Pauline was stricken with tuberculosis soon after completion of the exquisite portrait, leaving five sons and a grieving husband. Through Albert’s lifetime, it was draped in fabric on the walls of the family residence. The portrait remained in the de Broglie family until shortly before Robert Lehman acquired it.


The collection also comprises some extravagant, utterly amusing objects:Inkstand with Apollo and the Muses
Workshop of the Patanazzi family (Italian, active ca. 1580–1620)
Probably after Raphael (Raffaello Sanzio or Santi) (Italian, Urbino 1483–1520 Rome)
Date: 1584
Medium: Maiolica (tin-glazed earthenware)

This extravagant desk set celebrates the art of poetry while providing a writer with storage for the tools of his craft. The exterior decorations evoke ancient Roman art and honor the divine sources of creativity. Gods and muses perch beside famous poets atop an elaborate confection of drawers and removable containers, including inkwells and a sand-shaker (for drying fresh text). Inside, the compartments are decorated with images denoting their contents, such as scissors and quills.


Among which my personal favourite:
Inkstand with A Madman Distilling His Brains, ca. 1600
Maiolica (tin-glazed earthenware)

In this whimsical maiolica sculpture, a well-dressed man leans forward in his seat with his head in a covered pot set above a fiery hearth. The vessel beside the hearth almost certainly held ink. The man’s actions are explained by an inscription on the chair: “I distill my brain and am totally happy.” Thus the task of the writer is equated with distillation—the process through which a liquid is purified by heating and cooling, extracting its essence.


The Metropolitan Museum of Art
March 19th, 2017

Maria in the wings

Her black velvet eyes, captivating. More than the nude bodies of her friends. Or the chubby cheeks of Madame Roulin’s baby. I wonder if Madame would have approved. Maria, 1907-10
Kees van Dongen
Oil on canvas


Tahitian Women Bathing, 1892
Paul Gauguin
Oil on paper laid down on canvas


Madame Roulin and Her Baby, 1888
Vincent van Gogh
Oil on canvas


Reclining Nude, 1928
Suzanne Valadon
Oil on canvas (lined)

Suzanne Valadon posed as a model for Auguste Renoir, Edgar Degas and Henri de Toulouse-Lautrec before she began painting herself in 1893. While she favoured still lifes and portraits, Valadon is best known for her paintings of female nudes – a subject rarely chosen by women artists at the time. 


The Robert Lehman Wing,
Metropolitan Museum of Art

March 19th, 2017

 

Meet Hercules Segers

Parallel to Seurat’s Circus Sideshow, The Met was showing works by the Dutch printmaker and painter Hercules Seg(h)ers (ca. 1589 – ca. 1638). Very little is known about his life but his dreamy landscapes, innovative techniques such as lift-ground etching which would only be employed by others 150 years later, impressions in multiple colours contrary to the existing traditions that wanted them to look alike – in black and white, all speak for themselves.

And if that was not impressive enough, the curators’ notes disclosed that Segers very seldom depicted actual places; his incredibly detailed landscapes are all places he had never been to and only knew from prints made after Pieter Bruegel the Elder’s designs. So, for all their detail and realism, Segers’ landscapes were mostly products of his beautiful mind. No wonder he was the favourite artist of the much younger but no less experimental printmaker of the time, Rembrandt van Rijn, who owned eight paintings and one printing plate by Segers.

Mountain Valley with Dead Pine Trees and a City in the Background, ca. 1622-25
Line etching printed on light brown ground, varnished; unique impression

Influenced by the work of earlier Netherlandish landscapists, most notably prints after drawings by Pieter Bruegel the Elder, Segers often rendered broad Alpine valleys, as in this example. Bruegel was known for creating vast, comprehensible spaces that invited the viewer to fancifully wander. While here Segers included elements typical of Bruegel’s scenes – a path leading from the foreground into a distant valley, dotted with villages and castles – he flattened the landscape and used a variety of patterns to distinguish the rocks, the grassy hills, and the path. One of the artist’s larger etchings, this print exists in only one known impression.


After Hans Baldung
The Lamentation of Christ, ca. 1630-33
Line etching printed with tone and blue highlights on a cream-tinted ground, coloured with brush

This poignant depiction, one of the artist’s few biblical subjects, copies a woodcut created more than a century earlier by Hans Baldung. Segers closely replicated the figure group but removed the suggestions of the cross behind them, adding instead a small cluster of buildings on the bottom right. The artist overpainted this impression with opaque watercolour and oil paint, making it his most colourful etching.


Tobias and the Angel, ca. 1630-33
Line etching printed in olive-green with tone and highlights; first state of six

Tobias and the Angel, one of Segers’ final prints, was inspired by an engraving by Hendrick Goudt after Adam Elsheimer. Segers copied the two figures, including the large fish dragged along by Tobias, but enlarged them so that their silhouettes stand out against the sky.


Hercules Segers with Rembrandt van Rijn
The Flight into Egypt, ca. 1652
Line etching, drypoint, burin; sixth state of six

Rembrandt came into possession of Segers’ etching plate by about 1652 and altered the subject to the Flight into Egypt. He scraped away the large figures and added Joseph and Mary, as well as sketchy trees. In the second state, Rembrandt’s addition of rich drypoint lines almost obscures the subject.


The Mossy Tree, ca. 1625-30
Lift-ground etching printed in green on a light pink ground, coloured with brush; unique impression

The Mossy Tree is one of Segers’ most striking and iconic prints, due to its loose, almost calligraphic lines, which convey the unruly nature of moss. Linked together solely with thin lines, the branches seem to float before the delicately coloured background. The artist original printed the tree in green ink, though it has turned brown over time.


The Two Trees (An Alder and an Ash), ca. 1625-30
Lift-ground etching printed in green on a light pink ground, coloured with brush; unique impression.


Mountain Landscape with a Distant View, ca. 1620-25
Oil on canvas laid down on panel

Once attributed to Rembrandt, this painting was assigned to Segers in 1871, though it was still considered to have been retouched by the younger master. The palette and the dramatic mood relate to Rembrandt’s work, but recent study of the painting has determined that the reworking was carried out instead by an unknown 17th-century painter. This ambitious landscape, Segers’ largest, suffered in the 17th century due to a large hole in the upper right, which was patched with a new canvas. Subsequently, both the mountains in the background and a large section of the sky were overpainted, and Segers’ brush marks abruptly stop at the edge of the patch. The nervous white highlights on the rocks in the foreground are typical of Segers’ paintings.


Mountain Valley with Fence Fields, ca. 1625-30
Line etching and drypoint printed in blue with plate tone, coloured with brush; second state of two


The Enclosed Valley, ca. 1625-30
Line etching printed on linen with a tinted ground, coloured with brush. Twenty-two impressions of this print have survived.


The Enclosed Valley, ca. 1625-30
Line etching printed on linen with a tinted ground, coloured with brush. Twenty-two impressions of this print have survived.


The Large Tree, ca. 1628-29
Line etching printed with tone and highlights, black chalk

A majestic oak dominates a landscape abundant with foliage. A town and a body of water populated by sailboats can be seen in the distance.

Here, Segers’ three-tone process yields subtle gradiations of black and grey and enhances the play of light in the foliage. To create this etching, the artist covered the printing plate with dense pattern of intersecting lines, which are clearly visible in the sky. To preserve parts of the sky and the white highlights, he used stopping-out varnish, which prevents the acid that incises the lines into the metal from ”biting” farther into the plate. But the solvent in the varnish reacted with the etching ground, resulting in the fine line that curves around the top of the foliage. Segers may have meant to paint impressions of the print in order to hide this line, though neither of the two existing examples is painted.


Distant View with a Road and Mossy Branches, ca. 1622-25
Segers printed this etching with various coloured inks and grounds. Using fabric and paper, he also created counterproofs and a maculature. 


Impressions of Valley with a River and a Town with Four Towers, ca. 1626-27 etching.


Skull on a Ledge
Undated
Oil on canvas
Possibly Segers

The Mysterious Landscapes of Hercules Segers
The Metropolitan Museum of Art, February 13 – May 21, 2017

March 19th, 2017

A patio from a Spanish castle, 16th century ceiling tiles and some recent acquisitions

All on view at The Met. Some of humanity’s greatest accomplishments sitting together in one of the world’s greatest museums.

Like these mid-16th century ceiling tiles from Seville.

Or this entire patio from the castle at Vélez Blanco of Almeria, an example of early sixteenth-century Spanish architecture. 

Or these little gems of recent acquisitions 

Katsumi Watanabe
Untitled, 1966, Gelatin silver print

Watanabe was an itinerant portrait photographer who worked in the Shinjuku section of Tokyo during the 1960s and 1970s, mostly in the blue-light district of Kabukicho that was populated nightly with Yakuza, cross-dressers and prostitutes. His pictures, made with a strobe flash, were by necessity collaborative, as his subjects had to be pleased with their likeness before paying his set fee of two hundred yen for three prints. 


Elisabeth Hase
Down Stairs, ca. 1948, Gelatin silver print

In this self-portrait, Hase appears to have tripped, or perhaps to have thrown herself, face-down on a flight of stairs. In her most intriguing work, including this example, the artist experimented with staged scenarios and narratives exploring feminine identity, as would Cindy Sherman half a century later. Another such self-portrait shows her enacting a tearful confession to an anonymous clergyman. Hase turned to photography after beginning her career in the early 1920s as a student of avant-garde graphic design and typography. Despite being a lesser-known photographer, she established a studio in Frankfurt and pursued a variety of subjects, including portraits and still lifes, street scenes, modern architectural views and botanical studies. 


Unknown American Artist
Brooklyn Bridge, New York, ca. 1883, Albumen silver print from glass negative

When it opened for use on May 24, 1883, the Brooklyn Bridge was the longest suspension bridge in the world; it immediately became an essential subject for photographers working in or visiting New York as well as an iconic feature of the city’s skyline. Despite the bridge’s instant landmark status, early large-format view such as this one are rare. Now 133 years old, the soaring granite towers and steel cables of the Brooklyn Bridge carry roughly 150.000 vehicles and pedestrians every day.


The Metropolitan Museum of Art
March 19th, 2017

Grimaces and Misery – The Saltimbanques

This epic work by Fernandez Pelez (click on link for a better view on a public domain image) was part of Seurat’s Circus Sideshow exhibition. It made me terribly sad.

Too large to be ignored at the Salon of 1888, Pelez’s commanding parade scene went on view just before the close of the exhibition at the Salon des Indépendants that featured Seurat’s representation of the same subject. True to form for an artist who made no secret of his sympathies for the downtrodden in trenchant, life-size depictions, Grimaces and Misery – The Saltimbanques presents a lineup of circus performers whose lot does not improve with age: unsmiling young acrobats, sniveling in the corner or waiflike in sagging tights, give way to miserable, world-weary musicians across a twenty-foot stage.

On the face of it – from the quizzical dwarf to the white-faced clown – this epic naturalist painting would seem to to have nothing in common with Seurat’s stylized conception. And yet in each brooding masterpiece, the players take their place on a shallow stage, aligned in friezelike formation in tripartite arrangement.

Grimaces and Misery drew mixed reviews in 1888. Faulted for its dry and uninspired reportage, it also aroused deep sentiments, triggering heartfelt concern and rapt appreciation for its penetrating characterization of human suffering. The following year it was awarded a silver medal at the Exposition Universelle of 1889.

Fernandez Pelez
Grimaces and Misery – The Saltimbanques, 1888
Oil on canvas, in five sections
87 3/8 in. × 20 ft. 6 7/8 in. (222 × 627 cm)

The Metropolitan Museum of Art
March 19th, 2017