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Cornelis Norbertus Gijsbrechts (c.1630-1683) — Vanitas, Still Life [oil on canvas, ca. 1670]
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#art#painting#oil on canvas#european art#museum#cornelis norbertus gijsbrechts#vanitas#vanitas stillleben#vanitas on scribe4haxan
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“...vi numa gaveta da escrivaninha (e a letra me fez tremer) cartas obscenas, inacreditáveis, precisas, que Beatriz dirigira a Carlos Argentino...”
Jorge Luis Borges, “O Aleph”;pintura de Cornelis Norbertus Gijsbrechts.
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art history moodboard – mina harker
for @brambleberrycottage ❤️
visit the art museum
The Sick Girl – Félix Vallotton // Vampire – Edvard Munch // The Letter – Alfred Stevens // Trompe l’œil: A Quodlibet with Letters and a Roll of Blue Paper – Cornelis Norbertus Gijsbrechts // Portrait of a Russian Actress – Konrad Krzyżanowski // Allegory of the Eucharist – unknown artist // Study in Red (Emily Gertrude Littlejohns Bartlett) – Charles William Bartlett // Young Woman Writing a Letter – Federico Zandomeneghi // Illustration from La Morte Amoureuse – Eugène Decisy and Paul Albert Laurens
#charlotte's art museum milestone celebration#charlotte makes moodboards#art history moodboard#moodboards#character moodboard#felix vallotton#edvard munch#alfred stevens#federico zandomeneghi#mina harker#mina murray#mina harker aesthetic#mina harker moodboard#mina murray aesthetic#mina murray moodboard#dracula#dracula 1897#vampire#vampires#art#art history
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The Reverse of a Framed Painting (ca. 1670) by Cornelis Norbertus Gijsbrechts.
More on this remarkable painting and other trompe l'oeil by Gijsbrechts in our latest post: https://publicdomainreview.org/collection/reverse-of-a-framed-painting
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Wow, talk about a "frame narrative"! The end credits for the Eternal recap movie go all out here, with four "frames" of reference overlapping each other: the bejeweled portrait, the one with Kyubey's face, the salamander and cogs filigree from Homura's countdown signs from the beginning of the movie, and (presumably Walpurgisnacht's) curtains. As with the ending of the original series, Magia Record, and the Rebellion Production Note, Homura's silhouette faces away from the audience as if taking a bow, accompanied by the flicking of an old-fashioned projector. This is another one of those shots where Inu Curry's interests are on full display.
One of my favorite art genres is trompe-l'oeil, the art of making a two-dimensional drawing appear three-dimension and "real", and which often involve a similar use of frames and curtains:
Cornelis Norbertus Gijsbrechts, The Reverse of a Framed Painting (c. 1670) and Letter Rack with an Hourglass, a Razor and Scissors, (c. 1664).
This shot from Eternal reverses this dynamic--a three-dimensional object is incorporated into a two-dimensional plane, leaving it an open question of what is diegetically "real". A similar technique is used briefly in the second Nightmare sequence in Rebellion:
Here the jeweled frame is also adorned with buttons and the curtains at the top are three-dimensional lace; the background is made of quilted fabric pieces and there are also curtains to either side. The Nightmare is three-dimensional as well and puppeted by Homura's hands which are "blue-screened" to indicate they are invisible to the characters, who see this instead:
The "frame" in the Nightmare sequence is evocative of kamishibai, or traditional Japanese street theater using illustrations on a board, as well as Drosselmeyer's shadow box for the unrevealed Clara Dolls during Homura and Kyouko's lunch date. Once again, it ties into Rebellion's larger themes of performance, illusion, and reality itself. It's almost as if "all the world's a stage".... now where have I heard that one before?
(Note: that was rhetorical. I already know the answer to that.)
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A vanity still life, Cornelis Norbertus Gijsbrechts
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Cornelis Norbertus Gijsbrechts, Trompe l'oeil. A Cabinet in the Artist's Studio, 1670-1671 Via: https://commons.wikimedia.org/wiki/File:Cornelius_Norbertus_Gijsbrechts_-Trompe_l%27oeil._A_Cabinet_in_the_Artist%27s_Studio-_Google_Art_Project.jpg
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Cornelis Norbertus Gijsbrechts, Trompe-l'oeil: brievenbord met dansmeesterviool en pistool, 1664
De trompe-l’oeil is een apart en bijzonder populair genre, vooral in de Noordelijke Nederlanden. Met louter plastische middelen, zoals perspectief, lichteffecten en stofsuggestie, wil de kunstenaar een illusie van de werkelijkheid scheppen. Hij wedijvert met de realiteit en slaagt er bijna in de grens tussen die realiteit en zijn kunst op te heffen. Behalve een vermelding in 1659 als meester van de Antwerpse Sint-Lucasgilde zijn van Cornelis Gijsbrechts weinig biografische gegevens bekend. Hij schilderde enkel stillevens en trompe-l’oeils. Zijn vierjarig verblijf aan het Deense hof betekende een hoogtepunt in zijn carrière als trompe-l’oeilschilder. De twee werken met een voorhang in spiegelbeeld zijn vermoedelijk pendanten. Hier zijn de vanitassymbolen heel duidelijk aanwezig: de dansmeesterviool, de hoorn, de lege lijst, de zandloper, de almanak, het pistool verwijzen naar de ijdelheid van aardse genoegens en naar de vergankelijkheid van het leven.
https://www.mskgent.be/collectie/1911-hj
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Vanitas Still Life, Cornelis Norbertus Gysbrechts (fl. 1660-1683)
#art#art history#Cornelis Norbertus Gysbrechts#Cornelis Norbertus Gijsbrechts#Vanitas#Memento Mori#still life#genre painting#trompe l'oeil#Baroque#Baroque art#Flemish Baroque#Flemish art#17th century art
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Cornelis Norbertus Gijsbrechts (c.1630-1683) —Vanitas [oil on canvas, ca. 1665]
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Cornelis Norbertus Gijsbrechts active 1659-1675
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Cornelis Norbertus Gijsbrechts (1639-1683), Vanitas Still Life
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Cornelis Norbertus Gijsbrechts, letter racks, 1664/1668
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The Reverse of a Framed Painting (ca. 1670) by Cornelis Norbertus Gijsbrechts.
More on this remarkable painting and other trompe l'oeil by Gijsbrechts in our latest post: https://publicdomainreview.org/collection/reverse-of-a-framed-painting
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