journal photo

Friday, September 8th 2017

1:37 AM

Portrait painting of Margot Begemann,... the only woman that loved Vincent van Gogh?

Portrait painting of Margot Begemann,... Supposedly one of the only woman who loved Vincent van Gogh.  Moved this post forwards from November 24 2006.
56cm x 46cm or 22" x 18"  Frame 28 3/4" x 24 3/4"
Don't the most of you who read my writing's in my blogs find it amazing that this camera flash highlighted and enhanced areas of this portrait and highlighting areas of  Vincent's own brush strokes in his sunflower painting shown below shows us the exact same things that is also in his brush strokes of this portrait of Margot Begemann?  Do you supposed that these artist's techniques of Vincent's are the things that a computer would single out of Vincent's entire oeuvre, of all his artistic lines and characteristics of the known works of his to make its computer comparisons of for rightful authentication conclusions?  I'd say just as the computer more than likely was used in creating the 150 year commemorative coins of his 1853, 150th birthday in the Netherlands, and come up with the correct analysis how to make his face using only the discombobulation of the letters making up his full name.  I believe this technology alone with many more new technologies in this computer age will in the future be the main ways for making true determinations and authentications of Vincent's works, along with who exactly other artists may have been, and also works of many other masters from the past.  These techniques may also include the finding of the fraudulent  copyists now making astounding livings from their trade.  Copyist should really consider a new profession,.... maybe a distiller or a brewer, or something like that. 
 Well,... believe me,... this I'm showing you isn't the half of it,... there is so much more of his own techniques he used in creating his own works of art,... that it would be impossible to fool a computer,... say as it has been in the past of fooling the MFA experts.  I would venture to say myself that some were not really fooled at all,... just falling in line with the rich and powerful ones who are in control and just happen to be the ones making most all of the decisions in this MFA world of ours.  Simple as that!  I'm talking about the ones running all these family ran artist foundations by family descendents who thought that these works of art were not worth a shit.
All this that I've been showing and telling you is just a sliver of the pie my friends. I'm just showing you what possibly some will be able to see with their own eyes if they try real hard.  The majority of a computers work will be to reach a final conclusion, and more than likely would actually stupefy the audience.  The mathematical equation of what it see and compare would be magnified to a 400% to an impossible higher precentage that any human eye could even begin to compare and know what they were even looking at.  Simple as that my art loving friends, ones who care to bring back truths to this world of fine art of ours.
As you can possibly see yourselves the age difference, of the picture and the portrait painting,... one being of the younger gal, while the other being the full adult portrait of a woman in her mid thirties, the same age she would have been at the time of its creation.  For the ones of you who have seen knitted sweaters like this in the thirties and forties, I'm almost sure there are a few more just like them being worn today,... as well as back then.  More than likely it was knitted by her mother,.. maybe by her sister which was living at home with her parents along with her, or just maybe she knew how to knit herself.
If someone anywhere else in this world who are familiar with genealogy, family trees, who would care to research Margot's married name after Vincent had died,... I'm positive they would find it to have been Zwiebel.  I'm also positive there are many who would believe it wouldn't make a damn bit of difference, for the experts of today would find a way to discredit it.  Let's say such as possibly saying after researching and finding this out for myself, I wrote these names there.  All of these MFA experts knows who they are and presumably know my true feelings toward them,... that I could give a shit less what they come up with.  I have read most all their own bullshit lies before.  Now in looking at the First written on name of M. Zwiebel, why would someone have to go on to make people think it was a portrait of the daughter of Margot by writing the name out wrong with an ink pen and her married name and guess about the year it was painted?
 Are you people out there reading this starting to get the full picture?
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Wednesday, September 6th 2017

9:46 AM

Catholic Church grounds where Vincent van Gogh rented his art gallery.

Catholic Church where the potato eaters family went to church.














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Saturday, May 27th 2017

11:18 AM

"The Rembrandt Night Watch"

Night Watching by vanrijngo

Nope,... I just can't get that painting out of my mind sometimes! Every time I look at that painting I just want to go to some night club and have dinner with a beautiful young lady. We'd just sit & eat while watching the people having a great time out there on the dance floor. What is that guy up their on the upper platform singing with those other couples dancing around him,.... is that song in Dutch? Hell,... I even forgot what that base player's name was,... or those other band members over there on the right. I know I should remember that drummers name, we used to get tipsy at the bar together. Wow! Where did that little witch come from? Oh! I see,.. I'm getting a little pie eyed with that last drink of wine I drank,.... that's the shoulder of that tall brunette getting ready to twirl around the captain in black,.. that is if that couple in red don't run her over first. If that lieutenant in yellow doesn't stop playing with that gals backside who has her head laying on his shoulder, I'm going to haft to get up there with my little honey and try that myself. I guess I better slow down on my drinks,.... I'm starting to see things that aren't there!

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Thursday, February 2nd 2017

5:47 PM

OIL ON CANVAS I believe to have been painted by PAUL KLEE




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Thursday, February 2nd 2017

5:47 PM

OIL ON CANVAS I believe to have been painted by PAUL KLEE




35 7/8 x 35 7/8 Painting

37" x 37" Frame

Vanrijngo's attribution for this work of art and no other's

This painting is signed on the back I believe by a Swiss German artist by the name of Paul Klee.  It looks to me to be very much in his own style from 1925-8 which I'll show you below, and besides the painting did come from a real nice household estate sale which I handled personally in 1979-80, fifty-one or so years after it was painted.  As owner of Miller's Auction Service in Caldwell , Idaho,  I have owned this painting now myself for....The Hell with it, you do the math.

Not so elegant of a wood frame.

History: The Painting came from a family estate handle by a bank here in Nampa, Idaho. The Bank who in the past had called my auction business and said that they had an estate that they just wanted to sell everything for one price and be done with it.   They said that all the living family was out of state and in professional fields and couldn't be bothered with the loose ends of this estate. I went over and looked at it, then purchased all the household furniture, lamps, carpets, bedroom sets, appliances, kitchen items, garage items, all the wall accessories and this oil painting which I was told me at the time by the bank estate handler that it was purchased by their dead client from some Swiss artist in Europe some time back in the earlier part of the century. She also said the owner said it was a art masterpiece. 

    Of the thing that the family didn't want to keep, many families would have cut off their right arm to own. That was one of my biggest win-falls I had in the four years of the auction business and being over 25 and now at this time 37 years ago.  My wife had left me at that time and took my two children a daughter and son with her back to Long Beach California over the fragility's of the auction business.  My new girlfriend at that time after my wife leaving me just had to have the French provincial furniture and lamps from the 30's or early 40's, mirrors and what ever else she manage to get her hands on for her new apartment.    Even then, I more than tripled  my money from the items that I had auctioned off.

I had the painting stored for many years now because I believed the artist to be a gifted one, and kept the painting even though I didn't care to much for Modern abstract art.  I had   kept the painting wrapped in plastic until a couple of years ago. The canvas and paint are in very good condition as they were at the time of purchase back in 79 or 1980.  By the way, after wards the girlfriend left me for another man who she eventually married.  She knew I wanted to get back with my wife and kids. I did get back with my wife after promising her I would quit the auction business when my lease was up and concentrate on our used appliance business.  What things a person has to put up with and do to be able to keep their family together. 

I could probably go by the house that I purchased the estate from and asked the neighbors about the family that used to live there years ago, if any of them are still alive, but I don't really know what good it would really do, other than for provenance that would probably be absolutely worthless with the type of expertise in this world today.

A few years ago I did send pictures of it to the Klee Foundation and their answer back was that it was not Paul Klee's style of painting and he did not paint anything that big. Another so-called expert said that everything he did was signed on the front with a letter Y for the year, follow by the date with a number indicating the amount of paintings that he had done for that year. I looked at many of his works in art books that I bought about his work, and I call bullshit on the experts!  What a bunch of lying MFA's! As I ask myself while thinking at the time, is the art world really this screwed-up and built-up of supposed art expertise as these MFA's, using these false pretenses and giving fraudulent wrongful information to ones who own real masterpieces of different artists?  This was only one of the episodes in the beginning of my artistic endovers, the starting of my own tremendous dislike for these so- called and supposed MFA experts.

If you take time and read some of the letters Vincent van Gogh had sent his brother Theo, you might come to your own conclusion that Vincent and myself feel pretty much the same, when it comes right down to supposed MFA expertise. Some say and think that "Vincent was no genius, (I wonder Why) he was just at work everyday and had some ideas. He succeeded.  Would another taste be on fashion today we would have another genius at  the top of the Pantheon."   Well,... I say Vincent knew exactly what he was doing, because he kept saying so in his letters to Theo, and when another artist reaches his same goals and understanding, then maybe, just maybe, they might become and be known as a genius, similar to what Vincent really was.

So, what do all of you art lovers think about this photograph of Paul Klee, right next to a picture of his own studio in the art write up in a publication from a art book write-up, all about him and his teachings.  Pretty impressive would not all of you agree,.. ones of us who appreciated his works of art?

What really does amaze me about this article and of his works of art, that this article and pictures does not really coincide with most his known works of art that most MFA experts go by. What I myself see in these menageries of art pieces of so-called not his style or work to big for what he had done, does in deed tend to makes my ass ache.

What if I were to say I have a little quiz question for the supposed Klee art lovers and art researchers. What would you say if I were to tell you my own theory  of what this unusually large oil painting of his represents? What if I were to say and suggest to you that this painting was more than likely painted after Klee himself seeing this photo used in this Klee book I put up for you all to see with your own eyes? Well, now  you all can compare my painting of his to this photograph out of this Paul Klee book. You can also look for a little of his own idiosyncrasies he used in creating his works of art. You can actually see Paul's Face right next to all his works of art in his art class and studio Just like in the art publication & book.





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Sunday, September 18th 2016

11:51 AM

Van Gogh's Transcendent Vision of "The Starry Night".

Van Gogh's Transcendent Vision

'Starry Night' transported the artist beyond an asylum's walls to a landscape summoned by his imagination & by moving this post forwards from 11/9/08 making it's possibilities of being read some more.

Painted in a small cell in an asylum in Saint-Remy-de-Provence, Vincent Van Gogh's magisterial "Starry Night" (1889) is perhaps the most celebrated of the many paintings that chart his compressed and compelling career. The hospital of St. Paul-de-Mausole, at one time a medieval French monastery, offered the Dutch artist a refuge after the crushing disappointments of bleak months spent in nearby Arles. Van Gogh (1853-1890) had been abandoned in Arles by his fellow painter, Paul Gauguin. His ambition of founding a studio in the South of France had collapsed, and with it his dream of a utopian brotherhood of modern painters who shared his belief that art could offer an embodiment of hope amid the drudgeries of modern life.

The intensity of Van Gogh's messianic vision, and the restorative powers he sought, and found, in his painting, underlie the deeply expressive character of many of his late works, especially "Starry Night."

Van Gogh once described the hushed hours of the night as being "more alive and richly colored than the day," and he resolved early on to use vibrant color to capture the depth and stilled poetry of its darkness. A tradition of twilight and nocturnal scenes, well established in 17th-century Netherlandish art, had inspired such dark, earlier Dutch masterpieces as his "Potatoes Eaters," and it resonated as well in the brilliant, gas-lit cafes and moon-lit city streets Van Gogh painted in France. Likewise, the scale and format of many Baroque Northern landscapes -- in which expansive, panoramic skies dwarf the human subject and imbue nature with a profound spiritual significance -- provided a vision of landscape he carried with him to Provence. And in the image of a sweeping, illuminated night sky unleashed across a narrow band of shaded ground, a subject that reaches its plentitude at St.-Remy, Van Gogh created not only a composite memory of his artistic heritage but his own evocation of an "exalting and consoling nature," as he described it, that transcended it as well.

From the barred window of his makeshift studio, Van Gogh had no view of the landscape surrounding the asylum. Uncharacteristically, he summoned his imagination instead, painting an ecstatic vision of the village under a fulgent canopy of stars and a crescent moon. A deep blue backdrop of mountains rises to an undulating crest at right, gathering momentum from the repeated, curved strokes of the painter's brush that measure the tsunami-like swells. These mountains bear little relation to the stony range of the Alpilles that stretched behind St.-Remy, one that Van Gogh had captured in plein air in other views. Nestled at the mountains' base in the painting are tight coils of a paler greenish-blue, which depict an orchard illuminated by the night sky, and these give way to the cadenced geometry of the village. There, with short horizontal and diagonal touches of paint, he traces its solid, rustic forms and tiled roofs, securing them to the writhing landscape with heavy black outlines and tiny squares of yellow light that shine from its windows. Only the graceful, elongated spire of the church at center, more Dutch than Provençal in its profile, breaks with the rugged, foursquare order of the village to cross the distant horizon.

Nature, too, has a transcendent moment within this intense canvas. Van Gogh had often marveled at the "somber and funereal" beauty of the cypress trees that dotted the southern French landscape, and likened their soaring proportions to that of an Egyptian obelisk. And in his "Starry Night" the flame-like contours of a cypress ascend to meet the radiant night sky, mirroring, but in the far more powerful and dynamic forms of nature, the vertical lines of the diminutive church. The deep, bottle-green hue of the tree, achieved with added strokes of brown and midnight blue, and its placement in a foreground that drops precipitously from view give it enormous pictorial presence and meaning. The cypress, a traditional symbol of eternity, and here functioning as both symbol and prophetic form, bars our entrance at left to the landscape, thus drawing us upward to the flattened, frieze-like expanse of the heavens.

Little in his painting, however, prepares us for the fervor of Van Gogh's nocturnal vision as it is unfurled across his swirling, astral sky. With heavily impastoed, rhythmic strokes of citron yellow, a range of opaque blues and a roiling composition of haloed stars, spiraling nebulae and a moon encircled by light, the painter gives emphatic, tactile form to his steadfast belief in a pantheistic nature. A horizontal cascade of silvery-blue light stretches across the far-off mountaintops -- perhaps an image of the Milky Way, perhaps the dawning light of morning, perhaps the path of stars streaking beyond the limits of his canvas and our view -- and it too is painted with palpable conviction. Exultant in itself and in stark contrast to the scale and quietude of the village, Van Gogh's animated constellation finds reflection in the tiny flickers of incandescendent light that emanate from the village windows, humble human reflections of nature's incalculable magnificence but also proof of man's place, and reason for hope, within a cosmic continuum.

In an age of widespread religious doubt, when many painters framed their art in terms of secular truths grounded in a material, visual reality, Van Gogh's discovery of the eternal in nature, and his emphatic transcription of that vision into the tangible forms of his profoundly moving landscape, was in itself a beacon of hope for modern painters.

Ms. Lewis, who writes often about Impressionism, teaches art history at Trinity College.

 vanrijngo:  I would say myself that Vincent van Gogh not only created a composite of his memories in his oeuvre, but in this painting of the Starry Night described the hushed hours of the night as being more alive and with more time to think to himself and to imagine of his artistic goals and how they have been overlooked by his art dealers Theo.  Vincent was always thinking of his own evocation of an exalting and consoling nature as only he could show his viewers and describe to them with his brushes and pens in his works of art and in his letters. Vincent van Gogh was a artist that transcended his total works of art of his own oeuvre and all his missing and lost pieces of art.

The visionary artist that Vincent was, he wanted us all take a better look at these works of art that he was producing. This master piece of "The Starry Night"  to truly evaluate the values and come up with a truer meaning of what exactly this artist was conveying to his viewers in this wonderful metamorphic work of art, he would greatly appreciate even after it proved to coming true as to predicting Vincent's future.
It is still being said today by some just as it has always been said before, how this poor Dutch artist, supposedly a refugee, after many crushing blows and disappointments, ones throughout these bleak years of his life, the few months he had spent in Arles France painting with Gauguin and the year and a half of his artistic career after that was all in vain. Now it's a different story altogether. The MFA experts are now wanting to lower the years of his producing works of art to be between 1882 to 1890, of Vincent van Gogh's short life span of (1853-1890) as to being the extent of his artistic career.  
 There has been many allegations of why this falling out of these two artist's Vincent & Gauguin might have occurred. I'm sure a lot of you had heard the homophobia  thing and possibly even the very sick allegations about a relationship between the two brothers.  All is false my artistic friends.  This is a very sick world we are all living in, and I would haft to also say and mention,... it will not be long before this sickness of this world of ours comes to some sort of an abrupt end.
 They say Vincent's ambition of founding a studio in the South of France had collapsed, and with it his dreams of a utopian brotherhood of modern painters who share his belief that art could offer an embodiment of hope amid the drudgeries of modern life.  Well,... just think about it, what he was trying to do and stop from happening back then.  It is still being done today, only on a grander scale, on the internet, in China, all around this world as I speak, producing the great masterpieces of this world, now in mass productive ways,... for everybody who loves copied works of art to hang right in their own living rooms or any other wall they choose.
 No more of having to go to these expensive museums which are loaded down themselves with copies, and now considered by the MFA experts that most museums and private collections depending on who's and which museums, are around 50% of the art work themselves now being considered fakes.  Now I believe the MFA experts or somebody really has a problem, for until science finally comes into play and is used in the full authentication process, these MFA experts will not be able to tell which are the fakes and which one are not, for you see the MFA experts are the main reasons there are so many fakes floating around in these places to begin with.
You take some of these works of art by different masters and these developed descriptions of certain elements of these artist's works supposedly helping these MFA experts describe these works using their own descriptions.  Most times these descriptions of theirs cause complete loss of total meaning to most of their readers and onlookers of these works of art that they are describing.  Some experts actually find it difficult to understand their own colleagues and what other MFA experts are saying and trying to convey about these supposed fine works of art.
Why the hell don't they just say it like the original artist's meant to say and tell it, say in the artist's own words that is,....  say like Vincent speaking to us all in this painting of the Starry Ass Night, all the while this work of art was mostly coming from his own imagination so to speak,... of what was in his thoughts and of his subconscious mind, what he believed himself happened to be in his own future. 
We all know that Vincent did eventually put a piece of lead into his own body, because we all have been told this by the art experts and historians.  But,... has this fact been about the truths, of what actually had taken place and happened?  I'd personally say not! Yes,... we all are pretty much wondering how history can actually be distorted as much as it has,  and by no means, don't think in your own minds that it isn't a fact that it had actually happened.  In this artist's case there are many who believes that it had in fact happened, except the MFA experts, the exact ones who actually had distorted the truths.
OK,... now that I have probably pissed the majority of you off, let the ones left and still hanging around continue reading what I have to say while having themselves a good look at this painting of Vincent's,... "The Starry ass Night",.... one more time.  Just think in the metamorphism, if you can, of a body of Vincent laying just across the top of these rolling hills done in the white and yellow lines, showing him lying flat on his back.  If you can imagine of being in a hospital or possibly awake or half awake while maybe under the knife of a doctor, you just might understand a little of his meaning of this painting.  Is that you doctor?  Are you going to be able to get that bullet out of me and patched me up before I succumb to the bullet wound and possibly that grim reaper represented by the cypress trees taking me away?  Are your assistants holding these lights close enough for you to see what you are doing? The very top of the church steeple is pointing directly at its position and even spells out the word bullet for you,... just above these two little mounds of these hills just under my body.
I can only believe myself when one does decide to commit an act such as shooting oneself,... I would think it is usually very well thought out before hand, in ones own mind, if perhaps one is planning on just bringing attention for a bullet wound, or if actually trying to ends ones own life.  In Vincent's case I believe he was just trying to bring attention to himself and to be saved by the doctors, or he would not have painted this fact.  He had just made a few errors along the way that allowed him to die and that possibly prevented him from being saved by the doctors.  First off for his supposed bad aim and not knowing where his heart was located and also by making one of the doctors feel threatened himself along with his family,... before committing this act a little later that day. Vincent was also heard mumbling and threatening to shoot himself again if they happen to save him.  The doctors you might say were a little more responsible for his death than Vincent might have been, even with him being the shooter.
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Saturday, July 9th 2016

9:59 AM

Vincent lost etching of a Bridge & other Bridges.

Click upper link to go to more studies of Vincent's works of art & more bridges.

Cheers!  vanrijngo

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Thursday, June 16th 2016

1:30 PM

Rembrandt's "The Night Watch" painted in 1642, compared to a 1632 painting

Rembrandt's "The Night Watch" painted in 1642, compared to a 1632 painting, I'm assuming representing a painting of "The Ascension of Christ",.. some peoples considered Lord & Savior.
night-watch.jpg picture by vanrijngo
Thanks to his massive talent for composition, Rembrandt never seemed to have any problem with how to arrange group portraits, not even in his teenage days as a painter. His ultimate group portrait (and perhaps THE ultimate group portrait) is the Night Watch.
A group portrait is a problem of perspective (perspective enters when not all the people are at equal distance from the observer, the challenge is to get the proportions exactly right) and also of behavior: the artist must paint his subjects such that everyone seems to be doing something natural and logical. The Night watch is famous for it's orderly chaos: the people aren't lined up statically, but everyone seems to do as he likes, while each individual fits into the group portrait naturally.
AnonMysterySubjectWarsawNational-1.jpg picture by vanrijngo

Now,... with possibly of using your own imaginations, let's imagine that what was said above about "The Night Watch" pertains to this painting also,.. and say for instance the top portion of this painting at one time was cut down as for the room to hang it,... to where the ceiling was not high enough to accommodate as large of painting, just as "The Night Watch" was reduced in size.  What exactly would you think would be cut off?  Well,... I'll tell you my art loving minded friends,... the ones who happen to read my bloggs. I Believe it was the portion in which this gentleman to the right who is being held back,.. is looking at.  I'll give you all a clue,... by adding one of my own paintings out of my own collection below, to possibly help show you what could have been what the artist represented, or possibly what in similarities had been cut from this painting.
The kiss of betrayal by Judas warring his own red robe.
Judas trying to give back the thirty pieces of silver to one of the guard solders of Pilate' after kissing Jesus showing them which one who claimed he was the King of the Jews.

Request for reactions to large, high-quality but as yet unattributed Flemish painting in Warsaw: an appeal from Hanna Benesz

Wednesday 24 October 2007


night-watch1.jpg image by vanrijngo  AnonMysterySubjectWarsawNational-1.jpg image by vanrijngo  AnonMysterySubjectportraitofRHL-1.jpg image by vanrijngo

Now speaking in general of composition, I would say myself, that there is a lot of similarities, of both compositions, from this unattributed Flemish painting in Warsaw, as to Rembrandt's Night Watch.  Now if you care to compare the lay-out of the different subject matters,... the complete compositions as a whole, or the seemingly three grouped sections of both painting, while keeping in mind that they both represent something totally different. Rembrandt, I believe was trying to show his viewers, their inner self-conscious minds, the real main themes of these paintings, what it is in those two paintings, which are causing and bringing on all of the different emotions. 

night-watch.jpg image by vanrijngo

In not using the documented words of Rembrandt, which was spoken to his good friend Dr. van Loon,... when sitting him down in front of this Monstrous Painting of "The Night Watch",.... I'll try and get across too you all,... the main hidden just of these paintings.  Please keep in mind that there was a ten year span in time of these two painting of being painted, that we are comparing,... from 1632 to 1642 the year of his wife Saskia's death.  I'll add the same small picture from time to time, as to where you don't have to go back to it, and lose your spot of reading.

night-watch.jpg image by vanrijngo

Now,.. let us begin!  Imagine yourselves going out on the town, to your favorite night club dinner house, with your spouse or who ever, for an evening of fun and frolic,.... oops,... excuse me,... for I think I used a partial phrase of his.  Anyway while you're sitting there eating your dinner and enjoying your drink, and glancing out towards the dance floor,.. listening to the music and watching the band play, people are cutting a little jig to the music, looking like they're having the time of their life.  You just want to finish your dinner and get out there and join in on the fun with your own partner. 

night-watch.jpg image by vanrijngo

I know what you are all thinking,.... what the hell is this guy looking at,... and out of what?  Has he been drinking Absinthe again, like Vincent van Gogh did, lost his mind and hallucinating in the name of art?  Not really my friends, for I've the same perspective vision of both Rembrandt and Vincent van Gogh.  Now in getting back to this picture my friends, imagine in the foreground there is this tall beautiful brunette young lady, pulling up her dress in front while dancing with the Captain in black and who is doing his little dance jig around her. 

 night-watch.jpg image by vanrijngo
If you look between the two of them dancing, you just might see another Dutchman in a hat with a feather, flailing his arms and body around while dancing with his own hidden partner.  The obscure face of the little witch with the dead chick tied to her side, becomes the shoulder and and upper arm of this tall young thing that you are looking at as she is dancing.
 night-watch.jpg image by vanrijngo  
Behind the Captain in black is his lieutenant,... in his yellow hat, the actual taller of the two, who is having himself a little feel-up time with the honey who has her head laying on his shoulder as they are embracing as dancers on the dance floor. You look to the left of the tall Brunette dancing and kicking up her heels, there is a couple both warring red dancing cheek to cheek with the butt of the musket showing us the folds in the back of the brunettes beautiful golden gown that she is hiking up her front legs as she dances with the Captain in black.  
  This would be the music source, the band players with the guy up on stage with the other dancers, one who knows and can sing the words to the song that the base player, flute blower and drummer are playing over on the right hand side.
More coming later.
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Monday, May 23rd 2016

3:37 PM

My eyes have seen the secrets of Rembrandt's etching of the anagram in "Faust".

Rembrandt's "Faust"
This drawing in ink of mine actually sold for $350.00 on eBay to a fine art collector after being looked at only 18 times from the counter I had put on it and was pick off in the first couple of hours it was up.  I put it up for sale for $1.00 starting bid with N/R & buy it now for $350.00.  Does that tell you anything?  Oh,... of course!  I know what you are thinking,...this world of ours is full of nutty people. 

From the light of the window in the etching I made this drawing, with only pen on art paper while turning the etching sideways while looking into a mirror. This undeterred disc, appeared in the air magically of this etching while displaying a very clear message following correct readings of this etching and numerous others of his many etchings reveal similar things.   There are an unbelievable number of delicate lines in his etchings, adding up to many fragile and magical images.

 Whether or not it was intended or not, and most likely was the artist himself knowingly creating these hidden images which can come together in the spectators mind and the subconscious as truths as the artist himself was telling it.  In very rare cases, there is also a quality of visual reality which will show true result from careful study of the hidden line qualities to go along with the subject matter in revealing these not yet realized facts by myself.

This happens to be a reverse image out of the etching turned sideways just as I have done in my drawing.

The skull in "Dr. Faustus," at the extreme left, echoes the face of doom. This in one of Rembrandt's most confessing and un explained etchings ever done by this artist. This frightening etching was made all the more mysterious by the complete failure of all modem scholars to discover the meaning of the letters in the "magic disc." All Rembrandt's drawings, etchings and paintings of his sick wife, Saskia, refer to the etching of Dr. Faustus. Even the sickly-looking witch, which he painted into the "Night Watch," in 1642 (the year of Saskia's death), reflected these truths.

In the "Etching of Dr. Faustus in His Study" actually represents the good doctor, Rembrandt's closest friend and confidant, Dr. Van Loon, who on a particular day in the 1630's was having drinks with his good friends, Ephraim Bueno and Rembrandt. In his drunken stupor, he had answered a question, put to him by his good friend Rembrandt.

The question posed to Dr. Van Loon requires no explanation, once the answer is know: 1-Ragla, 2-Tetrma and 3-Ant Sadla. This concoction, added to milk and administered over a period of two or three years would take care of Rembrandt's problems! This elixir was to make marriage possible after Saskia's death! Unfortunately, Rembrandt gave no thought to the possibility of a Will being drawn up before her passing. To read "Magic Disc" you must turn it sideways, while holding it up to mirror, so that the mixture appears to run into the pail of milk.

I don't know how many of his etchings and works of art lead us to this same subject.

  Saskia having a toast with the grim reaper while the artist groom in the feathered hat of these two newly weds is in a mind wandering daze. 



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