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'Rembrandt to Vermeer' exhibition marks Amsterdam's 750th anniversary

'Rembrandt to Vermeer' exhibition marks Amsterdam's 750th anniversary

Observer12-04-2025
A large private collection of Dutch Old Masters is making available 75 of its works, including 18 Rembrandts, for the celebration of Amsterdam's 750th anniversary this year.
The "From Rembrandt to Vermeer, Masterpieces from The Leiden Collection" is on show from Wednesday to August 24 at the H'ART Museum in the city centre.
The museum describes the exhibition as "a unique and intimate glimpse into the 17th-century Netherlands through the eyes of the great Dutch Masters."
Other artists include Frans Hals, Jan Steen, Ferdinand Bol, Gerard Dou and Frans van Mieris.
The exhibition includes the only Vermeer still in private hands - "A Young woman Seated at the Virginals."
The exhibition sketches many facets of Amsterdam life, highlighting everything from food, drink, reading and music to aging, parenting and the art of portraiture and self-portraiture.
It includes character studies of people from various backgrounds, at the market, in the pub or in their homes.
The focus is formed by 17 paintings and one drawing by Rembrandt, who moved to Amsterdam from Leiden in 1630.
The US-French art collector Thomas Kaplan has been fascinated by Rembrandt since childhood and has assembled "The Leiden Collection"in the artist's honour.
The H'ART website notes that the exhibition depicts many women, from wealthy matrons to goddesses to ordinary citizens.
"Particularly noteworthy is the inclusion of a painting by Maria Schalcken, one of the few women in her time known to be working as a painter," it adds. —dpa
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France museum-goer eats million-dollar banana taped to wall
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Oman hosts film contest dedicated to Palestine
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Jonathan Anderson Sets a New Dressing Agenda at Dior
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A photo of Christian Dior's original salon stretched the width of the Invalides, the gold-domed palace where Napoleon is buried, offering a fish-eye view of the past to the throngs shrieking outside — and a sign of just where Dior believes it belongs in the pantheon of French power. Inside, dove-gray velvet lined the walls of a temporary event space and displayed two rare 18th-century oils by Jean Siméon Chardin on loan from the National Galleries of Scotland and the Louvre. Robert Pattinson gossiped with Josh O'Connor. Donatella Versace schmoozed with Roger Federer. A pregnant Rihanna arrived with A$AP Rocky a mere 45 minutes after the official start time. That's how much anticipation there was for the Dior men's show. Filmmaker Luca Guadagnino was even trailing around to document the moment. It was Jonathan Anderson's debut as the creative director/savior of the house, the first designer to be put in charge of both menswear and womenswear. 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For every highfalutin garment there was an equal and opposite this-old-thing, usually worn together. Velvet frock coats were paired with faded jeans in Japanese denim. Olive green puffer coats and down vests were cut with trapeze backs. The exact pattern of another classic Dior dress, the Caprice, with its elaborately swathed peplum skirt, was applied to a pair of loose khakis, giving one leg the fillip of a drape. An 18th-century frock coat was exactingly reproduced — in moleskin. There were shamrocks on tennis shoes and high-tops with driving shoe soles; cable knits under elaborate waist coats. There was a lot of neck action. Book totes borrowed, again, from the women's line, with actual book titles on them from Baudelaire and Françoise Sagan. Anderson had clearly done his homework. Easter eggs to early Dior were everywhere. Even the labels inside the clothes were in the designer's preferred silk faille. He was never going to toss everything out the window and start again. He couldn't. Dior is a multibillion-dollar business, after all, and some of his predecessors (Raf Simons, Hedi Slimane, John Galliano) were his idols. Once upon a time, a designer might have had the arrogance to wipe the slate clean, but this is a new age. The industry is in crisis, and the creative tectonic plates are shifting. It is why Anderson invited seemingly every other designer in Paris to join him at the show. It is also why he picked the Chardin oils and why he seeded his Instagram with Warhol Polaroids of Lee Radziwill and Jean-Michel Basquiat. Chardin, he said in a preview, 'kind of loosened up the still life'; Warhol made pop culture high art. Both crystallized an inflection point in culture. Anderson clearly wants his Dior to do the same. His show invitation came borne on a china plate with three china eggs on top, as if a reminder that the menswear was just the beginning (and maybe to acknowledge that some shells may get broken along the way). Fair enough. The result may not knock you sideways, but it's likely to make you sit up and buy. Not to mention whetting the appetite for his first womenswear collection, come September.

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