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The Intruder - c. 1660
Gabriel Metsu
Dutch, 1629 - 1667
The Protestant Dutch had a reputation for strict rules that defined social conduct. Only on rare occasions, such as a betrothal when a suitor was expected to show passion for his future wife, would a demonstration of emotion be considered proper. In this sumptuous painting, Gabriel Metsu imagines an apparently prearranged "transgression" among the elite of Amsterdam. An officer bursts into a bedroom, where two elegant young women are getting ready for the day. The housekeeper, identified by the keys dangling from her apron, playfully pretends to restrain him. The woman seated in front of the mirror is clearly amused, but the young woman getting down from the bed seems perturbed at being caught in her underskirt. The scene contains a number of objects whose contradictory symbolic meanings would have intrigued contemporary viewers. The sliding of a naked foot into a slipper carries sexual overtones, and the bright red costume signals passion, while the comb held by the woman seated at the table denotes her purity.
Metsu organized this complex narrative scene by arranging his figures diagonally across the picture plane. His subject matter and style was influenced by Gerard ter Borch the Younger (1617–1681), whose Suitor’s Visit is also in the National Gallery of Art. Both artists excelled at depicting human interactions and rendering the satins, velvets, lace, and furs found in upper-class fashions.
Gabriel Metsu was born in Leiden sometime between November 27 and mid-December 1629, about eight months after the death of his father, the Flemish painter Jacques Metsue. In 1644, when fifteen-year-old Gabriel Metsu joined a semiformal group of local artists, he entered the membership rolls as a “painter.” Six days after the establishment of Leiden’s Saint Luke’s Guild in 1648, Metsu paid his membership dues as an independent master. With the exception of short absences in the early 1650s, he remained in Leiden until at least 1654, moving to Amsterdam the following year. On April 12, 1658, he married Isabella de Wolff, a relative of the Haarlem classicist painter Pieter de Grebber (c. 1600–1652/1653). In January of the next year, Metsu became an official citizen of Amsterdam, where he died in 1667 at the young age of thirty-eight.
It has often been assumed that Metsu must have studied with Dou, Gerrit, Leiden’s leading genre painter during the 1640s. This assumption may well be correct but it is not without problems, given that early works from Metsu’s Leiden period tend to be executed in a fairly broad and fluid manner, far removed from the meticulously crafted, small-scale paintings of Dou and the other Leiden fijnschilders, such as Mieris, Frans van. Rather than Dou, Metsu may initially have studied under the history painter Anthonie Claesz de Grebber (c. 1622–1691), who was related to Pieter de Grebber and, like Metsu, was also Catholic. Strong links with the work of the Utrecht painter Nicolaus Knüpfer (c. 1603–1655), further suggest that Metsu apprenticed with this master in the early 1650s. Also influential for Metsu’s early work was another master from Utrecht, the Italianate landscape painter Jan Baptist Weenix (1621–1660/1661).
Metsu’s stylistic and thematic adaptability suggests that he understood the changing character of the art market. For example, after he moved to Amsterdam he began to paint genre scenes that featured upper-class domestic situations. He also began to paint with greater detail and with a refinement associated with Leiden masters. In Amsterdam he also responded to the thematic and stylistic innovations of Vermeer, Johannes, Borch the Younger, Gerard ter, and Hooch, Pieter de.
Metsu’s facile brushwork and his engaging narrative scenes were highly regarded during his own time, but the height of his fame came in the eighteenth and nineteenth centuries, when he was viewed as one of the supreme Dutch masters of the seventeenth century. His paintings were sold for enormous sums of money, and, because of Metsu’s fame, no fewer than three of Vermeer’s paintings were atrributed to him, among them the National Gallery’s Woman Holding a Balance.
In addition to his genre scenes, Metsu painted a few depictions of outdoor markets, religious scenes, portraits, and still lifes. The genre and portrait painter Michiel van Musscher (1645–1705) was his only known pupil.
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For earlier visit in 2024 see:
www.flickr.com/photos/ugardener/albums/72177720320689747/
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
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Expected Progeny Differences (EPDs) on the bulls you buy tells you a lot about the genetic strengths and weaknesses of your cow herd.
We expected to have to drive back into the dunes to see any horses. These guys were all just waiting on the beach for us about a quarter mile in. Wow.
You live upon a stage, and everyone's agreed
You're the brightest hope by far that anyone can see
So when you take the limelight you can guarantee
You're gaining fame and claiming credibility
Tell me baby are you gonna get high as a kite?
Tell me baby are you gonna let it happen every night
How can you expect to be taken seriously?
You live within the law, and everyone assumes
You must find this a bore, and try something new
You're an intellectual giant, an authority
To preach and teach the whole world about ecology
Tell me baby are you gonna make any other claim?
Tell me baby are you gonna take any of the blame?
How can you expect to be taken seriously?
How can you expect to be taken seriously?
(Seriously)
(Seriously)
You live within the headlines, so everyone can see
You're supporting every new cause and meeting royalty
You're another major artist on a higher plane
Do you think they'll put you in the Rock'n'Roll Hall of Fame?
Tell me baby how you generate longevity
Tell me baby how you really hate publicity
How can you expect to be taken seriously?
How can you expect to be taken seriously?
Seriously (seriously)
Seriously, aah
(Do you have a message for your fans?)
How can you expect to be taken seriously?
How can you expect to be taken seriously?
(Seriously)
Seriously
(Seriously)
Seriously
Aah, seriously
Fort Worth, Texas 03/5/2021
Linda Tinnerello looks over what to expect now that she has the COVID vaccine manufactured by Phiser. After being selected, she waited through the lines at the Texas Motor Speedway vaccination site. This was a The vaccination process took five minuteds to complete, with a fifteen-minute wait afterward to make sure that she did not have any side effects. Many opponents to the vaccine have been vocal about possible issues with the vaccine and the possible long-term effects.
Credit: Charles Burkett
Idaho's political orientation to change much after today - "No left turn" will stay red! But maybe, just maybe, there will be less hypocrisy and less legislation which damages our land, water, wildlife, and people... Photo by Frank
An overcast day in the boat yard curtails certain tasks but the men always have something to do. An overcast day for me shooting can sometimes add to the fun of shooting.
This Photo is taken by my father. I Think she is expecting my sister in this picture. I am guessing she is having a hard time getting me to smile. That pendant she is wearing was always one of my favorite things to focus on.
At this age my parents liked to tell me I was Bad so they could hear me say, :nemoj me ljutiti. Ha! Nije to Ljiepo! Znas!"
Which translates from Croatian as "Don't make me mad! Ha! Its just not nice! You know!"
I guess they thought it was cute, and I daresay I do similar things to my dog to illicite cute responses...but now I know why I am so touchy all the time. :)
Back to the sunrise photos. I had these ready to upload, but was tired of the same thing again and again. So I had some sunsets with lighthouses, but I'm back with these.
Ok, no quiero sonar "violado" como me diría alguien por ahí, pero hay cosas que me pasan que no puedo evitar.
Siento que este último tiempo, ha sido en verdad maravilloso, tengo todo lo que siempre quise, soy tal como siempre soñé ser, entre muchas otras cosas. No desconozco lo anterior, de hecho de aquello se trata mi felicidad en estos días, pero hay detalles que me preocupan de vez en cuando.
Es extraño, por demás difícil, que alguien se gane mi cariño (no se trata de que me crea el meollo del universo, pero tampoco vivo regalando aquello), y cuando así resulta ser, entrego todo lo que pueda, dado que el día de mañana no se sabe si esa persona o el cariño estarán. Es por lo mismo que trato de hacer hasta lo imposible por demostrar el sentimiento; lo malo de eso, es que también se espera mucho a cambio... Lamentablemente asumo mi culpabilidad en el tema de expectativas, ya que mal que mal, nadie tiene la culpa de mis anhelos, pero hay ocasiones en las que me gustaría recibir algo de esto a cambio.
Ahora se viene el paso al cuestionamiento... :
¿Seré acaso el responsable de esperar mucho de las personas? ¿Tendré la culpa de entregar mucho sin pedir nada a cambio? ¿Es quizá una tontera entristecerse por no recibir demostraciones en reciprocidad?
Hay días como hoy, en los que la nostalgia y melancolía logran ganarme el gallito un rato...