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By 1932, the not particularly beloved representation in the Met had come to be considered as both one of two widely accepted examples of a painted self-portrait by Hals and also the original after which four painted copies and two printed ones had been made. Three years later, however, one of the biggest proponents of the Friedsam portrait, Wilhelm Valentiner, would change his mind about the pre-eminence of this work.

The King Is Dead, Long Live the King: Valentiner’s About-Face

On January 9, 1935, the New York Times broke the news that a “Long-Hidden Work by Hals Is Found” and that “Expert Insists the One in the Metropolitan Is a Copy of It—Subject Shown at 70.” New Styles For Sale Official Cheap Online Short Sleeve Denim Slub Stripe Print Polo Sale For Sale d1xDIQYvXs
The newly crowned self-portrait ( Many Kinds Of Sale Online Shop Offer For Sale Missoni Checked Knit Shirt Websites For Sale Buy Cheap Latest iTM2OsC4k
), erroneously described as a recent purchase by Dr. H. Klaus of Minneapolis rather than by Dr. G. H. A. Clowes of Indianapolis, had been brought to light by E. and A. Silbermann Galleries of New York. 3 STRIPES BRUSHED HOODED SWEATSHIRT Clearance Top Quality Discount Original GkBnyLJud
In this article, Valentiner announced publically the superiority of this new painting over the Friedsam panel. 16 Since the publication of the first edition of his monograph on Hals in 1921, Valentiner had admired the Friedsam portrait. He had used it as the frontispiece in that catalogue, condemning the four other known versions as “hardly” authentic, Many Kinds Of Sale Low Cost Calvin Klein Boxer Briefs Fast Express The Cheapest Buy Cheap 2018 Unisex F0x3nNZ2
and had included it in an article on Hals’s self-portraits. White Femme Fatale Fanclub TShirt Clearance Newest In China Free Shipping Popular Sale Largest Supplier DsxDb
The New York Times recorded the understandable astonishment of the Metropolitan’s director, Herbert E. Winlock, at Valentiner’s shift in allegiance: “We have not heard of this discovery by Dr. Valentiner. Naturally, we are interested and look forward to Dr. Valentiner’s formal publication of the evidence.” 19

In a series of articles and written authentications, Valentiner outlined in connoisseurial terms the reasons for his change of heart. Free Shipping Affordable Zanerobe Dropshot Tech Pant in Navy Discount Websites uZIXhB
In the New York Times piece, he concentrated upon the strengths of the newly discovered picture, explaining that it “shows those free and easy touches and the superlative technique of Hals’s late work. Like others of his late works, this is painted in black and gray.” His most art historical praise is revealed in the authentication that he submitted to A. and E. Silbermann Galleries on February 16, 1934: “a master-work of psychological forming and of highly-gifted technique, most characteristic through the enamel-like surface, the richness of nuances of colours and the surety of drawing in each line.” 21

Valentiner published the evidence desired by Mr. Winlock in the June 1935 issue of Art in America . He remarked that the removal of eighteenth-century over-painting from the Clowes panel had revealed the masterpiece beneath. He specified that in it, “everything is organically connected. One feels that the mantle is actually thrown about the body as we see it in some of the boys’ portraits of the period about 1645–50. . . . The hat has also a natural plastic rounding, the hair is more loosely drawn, so that it has an irregular outline of artistic charm, the expression is full of life; the colors . . . have the purity and enamel-like brilliance which are characteristic of the master’s work.” The Friedsam portrait, in contrast, is “poorly drawn” with “dirty colors,” “expressionless” eyes, hair that is painted with “tiresome uniformity,” and a collar that lacks the “definiteness of outline and the plastic effect of the Dresden example.” Furthermore, he reinforced the identification of the Clowes painting as a self-portrait, citing the similarities in “the facial proportions, the full lips, and the strongly outlined eyes” with the supposed self-portrait in the Frick. Clearance Popular Givenchy Embroidered Star Dress Shirt 2018 New For Sale Buy Cheap Fashionable Sale tsI1XRCygk
Less convincing is his argument that the person who appears at different points in an artist’s oeuvre, particularly in the oeuvre of an artist who does not repeat his subjects, must be the artist himself. 23

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09.12 until 04.01.2001

The Belgian artist Philippe Van Snick (b. 1946) has worked as a painter since the late sixties. In his work, painting extends far beyond the painted surface.

Its significance is to be found in the work itself and also its relationship to the space where it is shown, in the individual viewer’s experience and relationship with the work of art. For his exhibition at the SMAK in 2000 he has deliberately opted not to create a new large colour installation, but to offer a selected retrospective of his work since 1984. This selection will focus on particular facets of his work in order to render visible the thread running through it.

Philippe Van Snick uses his paintings, installations and sculptures to examine, analyse and create space. He thereby challenges the viewer to adopt a personal point of view. He does not need compositions or carefully considered subjects in order to involve the viewer and the space in his work. The strength of his work arises out of the minimal visual material he employs. The purity of painting comes to the fore, and so Van Snick uses simple supports and vivid pigments. After a short time working in a variety of disciplines, in the early seventies Van Snick decided to limit his palette to 10 colours, and also to reduce his vocabulary of forms to rectangles, squares and cubes. The colours red, yellow, blue, orange, green and purple were supplemented with black, white, silver and gold. Each one was a tint that he chose deliberately and with the greatest precision. His monochrome canvases are created by the application of several coats of paint. Van Snick uses this technique so that the pure pigment is as visible as possible. Their degree of saturation makes them direct themselves towards the viewer and the other works in the same room. The relationship between each of the colours and with the space itself is considered thoroughly, both when hanging canvases on the wall and when setting up large installations, in which Van Snick paints whole walls. Each work is independent and at the same time also part of a more all-embracing whole. When we look at these works, changes in the use of colour and format guide our experience of the space. It is only since the mid-nineties that Van Snick has opted to add mixed colours to his palette. This implies a different view, a view in tonality, a differentiated view in which sensitivities are translated in a different way, in which the artist implicates himself in the dialogue with the viewer. The titles Van Snick gives his work, such as Paysage, Visage and Territorium, refer to the space, the image, looking, the viewer and the interpenetration of all these elements. They are at the same time not unconnected with present realities and such burning contemporary issues as ‘territory’.

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