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“I have long been fascinated with the idea of artistic presence: the painter who includes themself in their work. Not as a self-portrait, per se, but as part of the fiction.” —#MetCurator Keith Christiansen. Visit the link our profile to read his blog post on portraits on view in “Valentin de Boulogne: Beyond Caravaggio.” Valentin de Boulogne (French, 1591–1632). Samson, 1631. The Cleveland Museum of Art #TheMet #ValentindeBoulogne

Miguel, in a pose after Valentin de Boulogne's "Martyre des saints Procès et Martinen" @angel_smg #35mm #film #analog #valentindeboulogne

Saw the #Vermeer and #ValentindeBoulogne exhibitions o/ ❤

Hard to say goodbye. One last stroll through the galleries before #valentindeboulogne heads to Paris. Here's his "Dream of St. Joseph," ca. 1624-26. #metmuseum #baroque #chiaroscuro #angel

Even guy behind us loves to hear gossip 😂 #originalgossipgirls #valentindeboulogne #mustsee #seasonattheMet #maxbeckmann

Valentin de Boulogne, Fortune Teller with Soldiers (c.1620) 149.5cm x 238.5cm An example of how de Boulogne took his painting beyond Caravaggio can be seen in “Fortune Teller with Soldiers” where he employs techniques to bring the viewer into the painting. In this painting a group of young soldiers gather around a table where one is having his palm read by a fortune teller. Behind her is a shady character in the act of picking her pocket as he holds up his finger to his lips as if to silence us. A young child follows suit by picking the pocket of the unsuspecting thief as the story of the painting unfolds. By painting a figure with his back to us, he makes us feel like we are also in the room. De Boulogne’s absence of a floor in the painting allows the viewer to become an active participant as if we are standing or sitting at the same level as the characters. The violent contrasts of light and dark with spotlight effect creates a painting both dramatic and powerful to view. In this painting we also see another often used technique of de Boulogne, extending the space of the painting beyond the frame so that the viewer feels they are part of the scene.#ValentindeBoulogne #FortuneTellerwithSoldiers #MetropolitanMuseumofArt #TheMet #Newyork

🇫🇷 Venez visiter le musée jusqu’à 21h45 ce soir ! De même, saviez-vous que des nocturnes exceptionnelles ont désormais lieu les samedis pour visiter les expositions #Vermeer et #ValentinDeBoulogne ? N’attendez plus pour réserver sur notre site officiel et passez tous un excellent week-end !
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🌎 ENG Come and visit us until 9:45pm tonight! Also, did you know that there exceptional late night openings on Saturdays to visit the Vermeer and Valentin de Boulogne exhibitions? Don’t wait anymore to book a time slot  on our official website and have an excellent weekend everyone!
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📷 © Musée du Louvre, dist. RMN - Grand Palais / Olivier Ouadah

#MuseeDuLouvre #MuseeLouvre #Louvre #LouvreMuseum #instaLouvre #instamuseum #nocturne #lateopening #architecture #museum #exposition #exhibition #weekend #pyramide #pyramid #louvrepyramide

Les œuvres du #MBAM en voyage -
Notre chef-d'oeuvre «Le Sacrifice d'Abraham» (Vers 1630-1631) par #ValentindeBoulogne est exposé @metmuseum Vous avez un voyage prévu à #newyork d'ici le 16 janvier 2017? Ne manquer pas la chance de visiter l'exposition «Valentin de Boulogne. Beyond Caravaggio». MMFA'S artworks on the go -
Our Masterpiece "Abraham Sacrificing Isaac" (About 1630-1631) by Valentin de Boulogne is exposed at the Metropolitan Museum of Art! You have a trip planned in New York before January 16, 2017? Don't miss the chance to see the exhibition "Valentin de Boulogne. Beyond Caravaggio".

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The exhibition highlight next year will almost certainly be the Dulwich Picture Gallery's show dedicated to Jusepe de Ribera. For decades I have been drawn to the works of Ribera, Caravaggio and Valentin de Boulogne and elements of Ribera's directness made me question my own approach to making work.

When it comes to raw power Ribera is on a par with Caravaggio. It's easy to recoil from much of Ribera's imagery but amongst the violence there are real touches of humanity. Empathy is often present in Ribera's portrayals of suffering. While some of his executioners display psychopathic zeal, others show signs of possible remorse in the midst of their grisly task.

Then there is the authority and brilliance of his painting to marvel at. Derived from deep observation (the creases in the compressed ageing flesh of Saint Bartholomew's left thigh) and variance of touch. The structure that sits behind the painting of Ribera's 'The Lamentation over the Dead Christ' in the National Gallery is outstanding both in its understanding of form and how it introduces weight to Christ's lifeless body.
At a time when we are constantly reminded of the violence and atrocities of our own time these works couldn't be more poignant.

Through the kindness of dealer Clovis Whitfield I once carried a large unframed Ribera into the light where we could view it properly and have not forgotten the charge I got from handling the painting and being able to inspect its surface so closely. Shortly after, I caught the train back to Cornwall, and the residue of that charge lasted the journey.

'Not a laugh not an undone dress, a kind of irreparable sadness invades his figures, and even the children seem to raise their big brown eyes towards a dream denied...'
The paintings of Valentin de Boulogne... deeply profound works of art 🙏🏼 #valentindeboulogne

When you get lost in your research and you come across this magnificent piece of work 🌟
'Concert à huit personnages', 1628-1630 #valentindeboulogne

Valentin de Boulogne, 'The Four Ages of Man', about 1629, National Gallery, London 🇬🇧

Valentin de Boulogne, Le Couronnement d'épines.
#valentindeboulogne

Valentin de Boulogne, Fortune Teller with Soldiers (c.1620) 149.5cm x 238.5cm An example of how de Boulogne took his painting beyond Caravaggio can be seen in “Fortune Teller with Soldiers” where he employs techniques to bring the viewer into the painting. In this painting a group of young soldiers gather around a table where one is having his palm read by a fortune teller. Behind her is a shady character in the act of picking her pocket as he holds up his finger to his lips as if to silence us. A young child follows suit by picking the pocket of the unsuspecting thief as the story of the painting unfolds. By painting a figure with his back to us, he makes us feel like we are also in the room. De Boulogne’s absence of a floor in the painting allows the viewer to become an active participant as if we are standing or sitting at the same level as the characters. The violent contrasts of light and dark with spotlight effect creates a painting both dramatic and powerful to view. In this painting we also see another often used technique of de Boulogne, extending the space of the painting beyond the frame so that the viewer feels they are part of the scene.#ValentindeBoulogne #FortuneTellerwithSoldiers #MetropolitanMuseumofArt #TheMet #Newyork

The Lute Player || Valentin de Boulogne (French, Coulommiers-en-Brie 1591–1632 Rome), ca. 1626
#17thcenturyart #17thcentury #lute #oilpainting #OilOnCanvas #france #french #arthistory #metmuseum #art #music #ValentindeBoulogne

"Allegory of Italy". Valentin de Boulogne, 1628. #valentindeboulogne #caravaggio

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