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Friday, June 23rd 2006

2:10 PM

"The search for truth and finding it, you would think it should deserve some merrit".

THE SEARCH FOR TRUTH CONCERNING FINE ART MAY PROVE TO BE A DISASTROUS AND A CONTRUCTIVE THING AT THE SAME TIME.
 
by vanrijngo
I must say,.. the more I studies these old photos and of the actual original paintings of my collection which I have been putting on line and showing the readers of my web-logs and diary, the more I see of the original artist's style and techniques. The techniques they had used from their creative minds and powers, to be able to create these masterful works of fine art to be viewed hundreds of years later after their origin.  This self-portrait above has alway been one of my favorites of Rembrandt's works of art,... and that is not from the powers that it has held over me from my very first time in seeing it. It's because of its full content,... when it was painted,... and what it represents. I personally believe I'm about the only one in this world of art today which has anything to do with fine art that would be the one who could actually do this and to be able to tell you what was in the nind and soul of the actual artist. I also know that many, if not all, will not be able to see what I'll be telling you and explaining, but I feel reasonably assured that most will be able to feel or at least some might see it, and possibly a few in their subconscious minds while feeling that I myself might be on the right track and going in the right dirrection.
 
First off,... as most who view this portrait painting of the artist in the window might possibly see and think in their own minds,.. that who ever the artist happened to be who tried to paint this portrait of Rembrandt in that window of his house did not know the first thing about painting,... let alone anything about his style of painting.  Isn't that amazing me saying this!  I do believe the ones who actually think this way will most likely be leaving these writings,.. just about now,... without getting the full explanation of what this self-portrait represents, and why it was painted in this way the time of its creation. All the while, I'm sure there will be a few non-believers stick around to hear what I'll have to show and say next.
 
Secondly now,..before I loose more of you,.. I'll tell you exactly the time of its creation early,... just to hold the rest who stayed attention. This self-portrait was painted at the time of Rembrandt's bankruptcy,... Hendrickje, himself and his son Titus, his daughter Cornelia were all about to be evicted from their house. Not many knows this for sure,... but I myself do, that if time allowed, it more than likely would have received more paint over the top of what you see. This portrait was sold at his bankruptcy as a finished portrait painting of Rembrandt, which it will remain, and therefore help in showing a lot of his own techniques before the actual finishing of his works of art. This more than likely would be classified just as the under painting as in some of his painting in the past which show under-paintings, which has been revealed and exposed by x-rays.
 
Now,.. in looking back at this portrait, we all see the full face of this artist in the window holding his paint pallet and brushes in one hand while his other hand is hanging limply out the window. His artist easel and a pillar can be seen in the background. Now this should help explain how a lot of the hidden objects do appear in a lot of his finished works of art and show up in x-rays.  As we look at his face we can imagine in our own minds all kinds of thing. Is this artist having a migrain headache?  Does he have walleye?  Did he mean to paint himself looking straight ahead or looking to his right or possibly to his left?  What is that split, the one going right on down the middle of his face?  Or possibly is this a subliminal portrait of Hendrickje and himself standing side-by-side having themselves one last look out of his upstairs window before having to vacate the house?
 
 
This was my first Rembrandt purchase mentioned in my interview with Boheme magazine as I became part of their staff as a columnist.
An Interview With Robert J. Miller
Posted on Wednesday, 04.05. 2005 - 09:28:06
Match on Article's text.
Topic: Interviews

 
 
 
 
 Earlier in 1980, thirty six years after I was born, I began to learn details of how exactly the art market was and is still being ran today and what kind of expertise is available to art patrons. From that time until the present, I've experienced a series of revelations which have turned my whole notions of art and humanity utterly upside down. It is said that the truth is stranger than fiction; this is a deception. Most people's truth are in fact nothing but fiction --
 
 
"House at Whitney"
 
I know what you will say,.... it's completely different. Of course a painting as a classroom demonstration done in 1953 by Edward Hopper would be different. You ask yourselves how can I (vanrijngo) say this with complete authority?  Well,... It is like this my friends,... I watch him paint it with my own eyes when I was nine years old!  Click below to read about "The House at Whitney".
Edward Hopper class painting 1953-4 - Monday, December 6th 2004 11:10 AM
  Keep in mind that this painting was done by suggestions from a third grade class at Whitney School, Boise, Idaho by the assumed artist as a demonstration...
 
  The purpose of this document is to share with you my discoveries, my outrage, and my commitments along with supposed shame of others -- in other words, the whole of one big lie in this world of fine art. With the help of an amazing variety of intense, sincere, and fiercely independent studies of Rembrandt van Rijn and Vincent van Gogh, I have discovered that the major portion of my own life's history, my life's energy, has been systematically and diabolically transfused into the veins of a beast concidered to be myself, by these so-called experts of fine art.
 
 
  I have been deliberately lied to and tried to be educated in the wrong ways, have been defrauded, tried to be manipulated from my infancy by such human beings who held authority over me and that should have been the most trustworthy. These  individuals have made me a party to what some believes are evil acts, of a scope and magnitude which at times causes my spirit to grow almost to the point of being explosive, only to be extinguished by supposed art experts own shame and by them remaining silent.
 
Here is one that will frost most your asses.  click link below to read.
 
 
 
 The supposed MEA experts own shame that I know which is the most painful to me with my own realization that the susceptibility and serviceability I present to the ones in need,... they, the MFA experts will not accept what is discovered and found out to be the absolute truths,..  where it seems that the one big LIE continues to cover up all the rest to insure them of being able to stay in the lead.  As a result of what is in my soul and my willingness to face truths and real facts, I would like to believe that I did not face it in the past because I simply avoided it, or had no idea how much evil has been caused and what is to become of it.  Even at this time I'm being conducted and misinformed, mostly by apathetic supporters of the arts. From this time forward, I pray that I may remain unalterably committed to opposing this one big LIE, in every aspect of my personal life and in the public forum as my human strength and ability may allow me. 
 
"This is one of my own drawings which sold on eBay for $350.00. It was done in two colors of ink. See if you can see the naked lady sitting in Rembrandt's lap with Rembrandt's pet monkey near, watching the monkey business going on." — Treasure Valley Texas Holdem meetup Association.
 
This is one of only two drawings of mine which sold on eBay for $350.00. It was done in two colors of ink on art paper. See if you can see the naked lady sitting in Rembrandt's lap with Rembrandt's pet monkey near, watching the monkey business going on. It might help you to see this by looking at the smaller picture of it above.
 
 
Vincent van Gogh's Last fairwell & Goodbye.


  It is now early in the twenty first century and after many pages of my own studies and writings in my blogs, hundreds of hours of being on the computer, and countless hours of personal conversations, as it does occurs to me that the information I'm freely giving does carry with it my own obligation to share with every person willing to stop look and listen. Therefore, I am trying to create obliquity and elegiac documents which I can give people who have known me over the years, mostly ones who do not know me, in spite of my own faults, and who would possibly be able to figure out for themselves in the future that I would not make something like this up.
 
 
Henrietta or Hedrickje, RH as a child, myself as a baby, signature on RH print, bottom L. More signatures, Hendrickje carrying a basket, Bust heads of RHL, large bronze of RHL of a young girl looking at a book with her younger brother, Nancy my wife, my own artistic signature and also reading as in reverse.  Just a stupid little study concidered by most.
 
  In the hope of actually finishing this documented text,  details and references will be largely lacking. However, there will be some sources with which you may readily search out in my own blogs and verify some of the statements herein.
 
 
  I sincerely hope that in reading this it will either shock, dismay, disgust, or anger the MFA experts enough for them to make an honest attempt to prove me wrong on my attributions and what I have to say. No,... I do not mean just their most famous quote they usually, and most all the time send and give back to enquiring art patrons; "No, not done by this artist".  I can truthfully say they would have to say a whole lot more than just that, required by myself, before believing anything that they would have to say about this painting of Rembrandt's below.
 

  "The Danae" 

OIL ON CANVAS   (H)126cm x (W)151cm THE DOCUMENTED DATE OF THIS PAINTING WAS painted in "1636".

Well now,...would you have a look at this!  I believe I read Greece at the top left in the gold paint and have found his signature of RHL to the right in the yellow gold trim of the material, standing for Rembrandt Harmenzoon of Lyden, f1636  & Danae. 

Totally amazing wouldn't you think, of this being part of this painting and not seen since its creation?  This is exactly what I was talking about when saying the more I look at and study, the more I see of the artist's techniques.

 

It is noted in the past that this antique painting was attributed to a unknown Dutch artist by the Los Angles City Museum many years ago.

  The four apprentices who were working in the young master's studio in those days had taught themselves to talk about the painting in the safe terminology of the painter's trade not to offend Rembrandt of the sihouettetion of the body. One of them would invite you to walk up to it under the pretext of seeing how delicately the halftones carried the brilliant light into the deepest shade. Another would ask you whether you had noticed the marvelous difference between the inanimate softness of the silken materials and the pillows, and the living resilience of the flesh, while a third would join in with feverish enthusiasm about how the hair drew in the vibrant reds, the deep rich browns, and the flickering and gleaming gold. The fourth would tell how the canvas spoke directly to the viewer, unashamedly, and with gratefulness of the inexhaustible delights of Love.
 
In the other so called "Danae" all-the-while actually should be named and called; "Saskia accusing Rembrandt & Hendrickje".  What the experts of Rembrandt say about the hair and its flickering gold's, it should be left up to the viewers to make up their own minds what was said and what they see.
 
 
  When one looks at the face of the Danae in this painting, you should see just as the students & the apprentices did who were working in the young master's studio where it was hanging for twenty or so years. You should have the same feeling as they had themselves when viewing this painting.  They had taught themselves to talk about this painting in the safe terminology of the painter's trade,... One would asked you to look at the parted lips, and then say how the canvas spoke directly to the viewer, unashamedly, and with gratefulness of the inexhaustible delights of Love.  
 
 
 
  Above is a Rembrandt drawing of the Greek King with his ceptor along with a representation of him sitting on his throne in the bottom right corner.  His daughter Danae is sitting at the table weeping while his fortune teller is giving him the bad news. She knew how her own father had believed in him and knew that he might take some drastic measures to keep her from ever having a baby since she was the only means of producing a grandson.  There is also a representation of the attack of his daughter danae at the bottom of the table cloth if you care to squint your own eyes too see, all the while the swooping in of the vermilion's as the shower of gold, one of God Zeus disguises, and is shown above the attacks representation
 
 
 

  After Persius had cut the head off of the Medusa, Danae and himself were granted passage back to Argos after her father had retired from kingship and had no more power to keep them away. Danae goes and finds her father after arriving back to  Grease and brings him reluctantly to the triathlon games, where her son Persius is to throw the discus, and when his turn came in the tournament, the heavy missile swerved and fell amongst the spectators. Acrisius was there and was struck by the discus. The blow was fatal, and he died at once. Top of same drawing: A study of Danae, as she was locked up in forced chastity.  Top left: A study of her father at that particular time. Bottom left: Danae standing by in the present time of his death watching the angel take her father away because he did not kill his grandson or her to protect himself.  So,... Apollo's oracle was once again proven right.

 
 
 
  This Rembrandt drawing above is the drawing study for two painting, the painting above the drawing and the one below it. It is a drawing that represents Pottifpher's Wife standing in the curtains on the left accusing Joseph of trying to take advantage of her body, Pottifpher's wife about where Saskia, Rembrandt's dead wife is painted in the painting above the drawing, only in the drawing standing there shaking her finger instead of pulling a dagger out of its sheath. King Pottifpher is contemplating doing bodily harm to Joseph a friend and his fortune teller with dagger in hand, all for what his wife had told him and is represented as her telling him in the upper left hand side of this drawing.  It looks to me like Rembrandt did both these paintings from this very same drawing study around 1654, if you would care to match them up for comparisons of the bodies and hair styles and what exactly is in the drawing itself and its true meanings.
 
 
They say that this woman above is Hendrickje, and in the so-called Danae, it is Saskia his wife.

Do you possibly think this could be another hidden signature next to her foot, or the idiot looking one below which is the signature which is on this painting of Saskia below? This particular painting was purchased on eBay sometime back from an estate handler in Southern California which stated that this 17th century painting on canvas had sometime in the past been relined and feels that it could very possibly be a very important painting from history.

Yes,...can you just see this happening?
 
 
Well if that is so, the other two women in the known Rembrandt paintings.. then tell me,... who exactly the hell do you believe this to be that Rembrandt has painted so disguising,... and possibly even painted himself resting his own head on her soft belly, while receiving his little spanking from her on his ass with her saying, "you nasty nasty man you". You can see the same person in the so-called Danae in the light and shadows if you have eyes to see with of your own. I also believe I've heard so-called art experts some where down the line say that Rembrandt was known to like to rest his head in the warm bellies of his lovers.  If this is also so,... wouldn't you think he'd have painted it?  If it is known that Rembrandt painted his dead monkey into a family portrait, just after the monkey had died, and refused to remove it to the husband of the family who jumped around the canvas and seeing it after watching Rembrandt just looking at his monkey as he was painting.... And that it is a fact that there is some kind of a assumed hidden premise of his "Night Watch" of a super natural means that they can't even see for themselves, ... you don't believe he'd paint in such a way?
 
 
 
Some of these works of art are very mysterious, especially in looking at all his lovely little paintings, drawings and etchings he had done of his sickly looking wife Saskia, after he and his young mistress Hendrickje Stoffels,.... with a little knowledge coming from his good friend Doctor Van Loon, was able to get away with a crime that so many today try to get away while only a few do.
 
This painting of the"danae" was traced back coming across the Oregon trail by its owners. It has been know and said to have graced the walls of many saloons in its life while it was considered to be antique then in the early 1800's, and with some provenance which has been lost over the years by different owners. Yet, many stories did accompany this oil painting when I bought it from its owner.

  I believe myself this is the same painting that had hung in Rembrandt's studio for over 20 some years after he had given it away to his Lordship, the most gracious, Constantijn Huygens. This was supposed to be a gift to him for obtaining Rembrandt a commission from the stadtholder himself of the United Provinces. Rembrandt received the commission in 1634 for three theme paintings on the passion of Christ, which took over four years in the finishing of them before there delivery to Frederick Henry.

   Mean while, Frederick Henry would not let Huygens have a moments piece, the Amsterdam Burgomaster,... not until he received the three commissions. Needless to say, Huygens after four years of being bugged by Frederick Henry, and after receiving it had Rembrandts gift returned immediately, before even unpacking it from the crate that it was delivered in. He told Rembrandt that he didn't need any favors from him, and he damn sure wasn't doing him any more! I believe that Rembrandt took this returned gift to heart, and didn't completely understand the meaning of the returned gift. 

   After its return, it would hang around Rembrandt's studio for another twenty some years as he would show it to his students and pupils, so that they would not make the same mistake that he did, and by this, I mean by painting a silhouette looking body as the young Danae, the daughter of the Greek King of Argos, known from Greek Mythology. As this paint was hanging in one of my art galleries I over heard a comment from a viewer talking to her friend, that she could not lye that way, even when she was younger.  I had to hold my tongue and laugh under my breath. I wanted to say, be careful not to squint your eyes while looking at her, you might find her lying in the same way as you most likely have,.... many times before in your life.

A lot more pictures from my collection along with small descriptions may seen at this address below.

http://journalspace.meetup.com/49/photos/?photoAlbumId=66510&photoId=312287

The End

vanrijngo

 
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Friday, December 16th 2011 @ 11:30 PM

Posted by Alexander:

Posted by vanrijngo:

----- Original Message -----
From: Art Experts Incorporated
To: 'Robert J. Miller'
Sent: Friday, March 24, 2006 5:34 PM
Subject: 1636 painting of "The Danae" by Rembandt


Dear Mr. Miller,





Thank you for the opportunity to discover and visit your web site.



About your painting; it seems that you have performed considerable research and reached the inescapable conclusion that it is the work of Rembrandt.



This is wonderful news. How happy and proud you must be.



We all wish we had a Rembrandt.



Congratulations.



Kind regards,









for Art Experts Inc.

Mark Winter



Web site: www.artexpertswebsite.com



Art Experts Inc.



Mailing and shipping address:

325 Sixth Street

Holly Hill, Fl 32117

USA



Telephone toll free 1-800-480-4292

386-676-0160

Fax 386-255-1316

Email: artexperts@mindspring.com



Licensed appraisers

USPAP certified appraisers

Members Appraisers Association of America

American Institute for Conservation

International Institute for Conservation

Ex Sotheby's.com associate



Paintings researched, authenticated and appraised.







-----Original Message-----
From: Robert J. Miller [mailto:rvr1vvg@velocitus.net]
Sent: Friday, March 24, 2006 2:12 AM
To: artexperts@mindspring.com
Subject: 1636 painting of "The Danae" by Rembandt



Dear Sir,

What is your opinion of this supposed painting of "The Danae" which I believe was painted by Rembrandt?

http://vanrijngo.bravejournal.com/index.php



Kind regards

Bob Miller---vanrijngo



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This message was checked by NOD32 antivirus system.
http://www.eset.com
Sunday, July 9th 2006 @ 2:38 PM

Posted by vanrijngo:

Hello Teri,

real nice to hear from you again. I Hope all is well with you. Thanks very much for that very important information for myself and also my readers.
Talk to you later.
cheers!
Bob---vanrijngo :)
Thursday, March 30th 2006 @ 6:54 AM

Posted by Teri Horton:

Hi Bob,
Glad to see your still carrying the torch
for truth among the Fine Art World, who wouldn't know the truth if it bit them in the ass.
Did I tell you that the United States Supreme Court....amended Federal Rules of Evidence ~ 702 "expert testimony"....most States amended also....reason it's so important for the Federal Court system, 99%
of the time a case involving Fine Art goes to court it has to be Federal....because
plaintiff & defendant do not reside in the same state...no jurisdiction, Federal Court
obtains jurisdiction via "Divercity of Citizenship" Briefly, no longer will expert
opinions be allowed without scientific data
in support of. We both know what this means
with the self appointed phoney, fraudulent,
expert opinions. Out with the old....in with the new...scientific technology in foernsic evidence identification. The art World still ignores any scientific evidence
because like yourself,Hans Buhr,myself we had nothing to backup our common sense acceptance of scientific technology. If you would like a copy of the amendment, be happy to oblige. In May the documentary film Who the #@$% is Jackson Pollock will
be showing at the Seattle Film Festival.
The reason I tell you, the film really exposes the farce of art experts by their very own portrayal. If I remember, it's approx. 600 miles from Boise to Seattle.
My input to encourage & support your fight for truth amid the Fine Art corruption. It's changing Bob, keep up the good work in defying there system.
Best to you and your's.
Teri
******************************************
Below please find a review of, "Who the $#%& Is Jackson Pollock?" out
of the SXSW Film Festival by Sofia Resnick of the Austin Chronicle, March
24, 2006.


http://www.austinchronicle.com/issues/dispatch/2006-03-24/screens_string
_all.html

Who the $#%& Is Jackson Pollock?

D: Harry Moses

When Teri Horton, a 73-year-old former truck driver, bought a $5
painting at a thrift store, she thought
Thursday, March 30th 2006 @ 1:06 AM

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