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The Hague does not give truce to the lovers of the painting and 2010 have begun confirming the exceptional condition of the city that lodges soothes of the government. It is not to be strange, if we considered the number of sanctuaries dedicated to the beautiful arts that do of The Hague I destine-delicatessen.
Thus, the Mauritshuis, the Municipal Museum, the Mesdag Panorama or the Escher Museum, to mention some, give lives sample than it means a powerful artistic circuit, besides offering to the citizen the possibility of developing a true esthetic education. In any case, he is in us to be useful or not such possibility.
As we said to you, the museums of The Hague follow, as far as the quality of their exhibitions, a fabulous inertia. It makes a pair of weeks, in the Mauritshuis and under the label of Made in Holland: old woman teachers of an American collection private, native and foreign could contemplate valuable works of great Dutch painters (Rembrandt, Frans Hals, go Mieris, Avercamp), being so some of the pictures of the collection for the first time were exposed to the public scrutiny.
One week later the attention hardly fell on the Municipal Museum. From the 6 of February, the event is Kandinsky und to der Blauer Reiter, Kandinsky and the blue rider. The exhibition puts in perspective the expresionista painting, of the hand of two of its main vertices: Mondrian and Kandinsky.
Kandinsky (1866, Moscow-1944, the Neully-south-Seine) strived during good part of its life to secure new pictorial forms of expression that reflected a new concept of the art. That fight ends up exploding at the end of 1911, when it is inaugurated in Munich, Munich, the first exhibition of the blue rider almost at the same time as its writing was published On the spiritual in the art. The color and the form became independent, of the hand of Kandinsky, its servitudes towards the content. That one revolution, nevertheless, was not of easy digestion.
Two exhibitions, happened and a other passing, that complement with that will happen, again in the Mauritshuis, closing the virtuous circle. Dead natures and flamencas, whose inauguration is predicted stops within two weeks, offer a route by different Dutch painters in their relation with an exquisite subject: the flowers.
Or, to be exact, the flowers like died natures, bodegones. A list of premiums you donate of the Dutch and flamenco painting of century XVII and first half of the XVIII, where two painters shine particularly: Maria van Oosterwijck and Rachel Ruysch. She comes then, boys who said that the museums produced urticaria to him? To be vaccinated right now.
Photo via: rhumbasycanvas
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