"Bouquet of Flowers," Maria van Oosterwijck, second half of the 17th century.
Van Oosterwijck (1630-1693) was a Dutch painter of still lifes, mostly florals. She was quite a success, and a canny businesswoman, marketing her works to various crowned heads of Europe. She was a professional painter at a time when few women were, but she was still denied membership in the Painter's Guild because of her sex.
By all accounts, she was a deeply religious woman, and many of her paintings include symbols, either through color or other means, of her religious views. Butterflies were to mean the Resurrection, for instance.
She never married, but dedicated herself to her painting. She raised her nephew, and taught one of her servants to paint and be an artist herself, so she could be self-supporting. I like that aspect of her; not only being independent and self-determined, but helping others to be so as well, even if she was denied some opportunities because of the prejudices of the time.
Every time I go to a gig in the German church I wonder how come the big guy on the right has a tiny head from one of the smaller dudes above him, not his original big head like his brother on the left. I've decided to dive into the unfamiliar waters of #Baroque art history literature to find out.
Le festival Mars En Baroque aura exceptionnellement lieu en septembre-octobre #Marseille#Baroque (et si je dois partir en mars pour cause de salle de bain en travaux, et bah ça tombe plutôt bien, je craignais un peu de louper des concerts). Et puis on aura peut-être plus chaud en septembre, parce que les églises en mars 🥶 https://www.marsenbaroque.com
"Bolivian Baroque: Music from the Missions of Chiquitos and Moxos Indians"
[Zipoli: Beatus vir
anon.: Sonata a 2, and Basso Continuo
anon.: Motet "Aqui ta naqui"
Zipoli: In hoc Mundo
anon.: La Folia, Sonate for 2 Violins without Bass
anon.: Aria "In hac mensa novi Regis"
anon.: Motet "Caîma, Iyaî Jesus"
anon.: Pastoreta Ypeché Flauta
anon.: Pastoreta Ypeché Flauta
anon.: Aria "Ascendit Deus in jubilatione"
anon.: Aria "Exaltate Regem regum"
Henry Villca Suntura: Improvisation for Sikus, Bass and Guitar]
Katia Escalera, Alejandra Wayar (soprano)
Henry Villca (tenor)
Gian-Carla Tisera (mezzo-soprano)
Florilegium
(Channel Classics 2007) https://songwhip.com/florilegium/bolivian-baroque-music-from-the-missions-of-chiquitos-and-moxos-indians
We were afraid of that. Minion is playing PDQ Bach 1712 Oveture. Like other PDQ Bach music, the score was found in a bin not far from one of New York’s lesser schools of music. As was PDQ’s tradition, liberal sampling (plagiarism) is present in the score and baroque musical idioms are abused ad nauseam!
Playing and recording are first rate. Somehow PDQ managed to attract the City’s finest starving musicians to play and to land a recording contract with drab classical label Telarc! #music
https://songwhip.com/peter-schickele/1712-overture-s-1712
No doubt, astute readers noticed the work’s catalog number S. 1712! Professor Peter Schickele, discoverer of the PDQ Bach oeuvre, administers the catalog. He’s also PDQ’s posthumous promoter arranging these performances and recordings.
This is a fun #recording Telarc’s PDQ Bach 1712 Oveture. Prof Schickele (actual composer) put together 40 minutes of classical mashups. You’ll hear things you’ve heard before in a new way. Players make it through all the foolishness with polish and a sense of humor.
Telarc got it all down on disk with a good sense of space and dynamics.
#LMWAugenblick #Zeit ist Geld! Zumindest trifft das auf diese kostbare #Kunstuhr zu. Um 1640 von mehreren
Kunsthandwerkern aus #Bronze, #Gold und #Silber geschaffen, besticht sie durch reiche
Verzierungen – ein #Mondgesicht ist auch dabei. Und die #Uhrzeit sowie verschiedene kalendarische Informationen kann man auch ablesen!
"Table with a Cloth, Salt Cellar, Gilt Tazza, and More," Clara Peeters, c. 1611.
This seems appropriate as we head into Thanksgiving in the US. The lavish place setting is obviously that of a wealthy household; things are not only high quality and expensive, but also well cared for.
And what a meal! Bread, a pie, game birds, olives, and an orange, with wine from the ewer and salt from the cellar.
By the way, a "tazza" is a shallow bowl on a pillar.
"In Ictu Oculi (In the Blink of an Eye)," Juan de Valdés Leal, 1670-72.
I find this brutally macabre work endlessly fascinating. Death itself treads on a celestial sphere, and is surrounded by markers of worldly wealth and power, while snuffing out a candle. Death levels all; it doesn't care about your achievements, and it looks out at you as if warning that your turn will come.
This is viewed as Leal's finest work, and is part of a diptych; the other part shows the corpses of a knight and bishop. What's weird is that these were commissioned for a charity hospital...quite a thing to see when you go in! But in those days a hospital was likely the last stop anyway...
This still hangs at the hospital, along with a number of other works.
And as the light slid into dark
I walked beside the fences there
They keep out those who are unwanted
but cannot hold back nature’s fair
of beauty, calm, and abandon —
for that is there for all to share