Just when I think umm (as a game I play in my mind) maybe I could try and figure out what You are going to share before pushing the START button……then I am blown away by your thoughts and well-educated nuances of the history of art…..thanks for this gift on the second day of Advent…..
I live in the suburbs of Boston and have been to the MFA dozens of times. Thank you for providing such thoughtful analysis of a gorgeous, yet easy-to-pass-by painting.
Another rule of those particular painters was … one metal, one ceramic, one organic, one fabric, etc. All of these objects had to relate to each other. And the artist had to treat each property with its own essence.. the viewer has to be able to feel, smell it, pick it up. And that ability meant you are going to sell well. The Master of this type of depiction was Willem Kalf. His objects were from the Russian Tsars because he was a dealer in antiquities. He was the greatest as was Vermeer. They both belonged to the Saint Luke Society.
Beautiful! I still think there is symbolism in the painting. fhe fact that the tazza is toppled, the wrinkles in the cloth. The scene is frozen chaos, not something you would see in a house. Who would not immediately put the burning rope in safe place?
The image was carefully composed by Heda for the purposes of this painting. It is not a snapshot of an actual table and it was understood in its time as a construction. This is true of many types of still life painting in the Netherlands in the 17th century. Its reality is in the rendering of its individual elements and much of its beauty is in the relation of the objects to each other. Still, this is not something that "happened" and that the artist captured (so no need to worry about neglect of the burning rope). The painting's meaning is in the construction of objects, color, form, and light and how that was understood by the wealthy merchant culture of the Netherlands in the 17th century.
Every element of this is so appealing in its own way. I want to touch (perhaps straighten out) the tablecloth. I want to suck on the shiny olives, feel the bubbles in the beer on my upper lip, and smell the tobacco. I agree that this is a triumphant mercantile object because it makes me want things I didn't even know I did before seeing it.
Just when I think umm (as a game I play in my mind) maybe I could try and figure out what You are going to share before pushing the START button……then I am blown away by your thoughts and well-educated nuances of the history of art…..thanks for this gift on the second day of Advent…..
We will continue to try to surprise you, and thank you for the kind words.
Thank you!
I love and appreciate all your effort in your videos 😊
Thank you so much 😀
Just visited that museum in November, what a treat to see that section with Dutch paintings
I live in the suburbs of Boston and have been to the MFA dozens of times. Thank you for providing such thoughtful analysis of a gorgeous, yet easy-to-pass-by painting.
OMG thank you so much for these videos! They really provide a lot of insights about paintings!
Another rule of those particular painters was … one metal, one ceramic, one organic, one fabric, etc. All of these objects had to relate to each other. And the artist had to treat each property with its own essence.. the viewer has to be able to feel, smell it, pick it up. And that ability meant you are going to sell well. The Master of this type of depiction was Willem Kalf.
His objects were from the Russian Tsars because he was a dealer in antiquities. He was the greatest as was Vermeer. They both belonged to the Saint Luke Society.
Beautiful! I still think there is symbolism in the painting. fhe fact that the tazza is toppled, the wrinkles in the cloth. The scene is frozen chaos, not something you would see in a house. Who would not immediately put the burning rope in safe place?
The image was carefully composed by Heda for the purposes of this painting. It is not a snapshot of an actual table and it was understood in its time as a construction. This is true of many types of still life painting in the Netherlands in the 17th century. Its reality is in the rendering of its individual elements and much of its beauty is in the relation of the objects to each other. Still, this is not something that "happened" and that the artist captured (so no need to worry about neglect of the burning rope). The painting's meaning is in the construction of objects, color, form, and light and how that was understood by the wealthy merchant culture of the Netherlands in the 17th century.
Every element of this is so appealing in its own way. I want to touch (perhaps straighten out) the tablecloth. I want to suck on the shiny olives, feel the bubbles in the beer on my upper lip, and smell the tobacco. I agree that this is a triumphant mercantile object because it makes me want things I didn't even know I did before seeing it.
This one was such a challenge to photograph, the colors and tones are so close; it really rewards close looking.
@@smarthistory-art-historyReally?? It's so tantalizing now, I can only imagine how it hits you close up.
i just wanna know how they know for sure where these objects came from. how can you tell??
The way we see objects from different angles reminds me of cubism.
And for good reason. Cézanne studied 17th century Dutch still-life painting, and Picasso studied Cézanne.