Behold Medieval Snowball Fights: A Timeless Way of Having Fun

You can’t get too much win­ter in the win­ter

– Robert Frost, “Snow

Snowy win­ter then respond­ed with a voice severe:
May the cuck­oo not come, let it sleep in dark hol­lows.
He is accus­tomed to bring hunger with him.

Anony­mous poem in Medieval Latin, trans­lat­ed by Heather Williams

Win­ter may starve and freeze, but in each place where snow accu­mu­lates, we also find depic­tions of infor­mal hol­i­days — snow days — and one of their most exu­ber­ant pur­suits. “Few sea­son­al activ­i­ties are as uni­ver­sal — across time, place, or cul­ture — as the snow­ball fight,” writes Pub­lic Domain Review. Some have even made it “into the annals of his­to­ry.… Accord­ing to what might be more fable than his­to­ry, the teenage Napoleon Bona­parte famous­ly orga­nized a ten day snow­ball fight at his mil­i­tary school, com­plete with trench­es, reg­i­mens, and rules of engage­ment.”

Snow­ball fights weren’t “con­fined to chil­dren either,” Arendse Lund writes. In the pages of illu­mi­nat­ed Medieval man­u­scripts, “peo­ple of all ages, men and women, can be seen heft­ing an icy ball.” Such images defy a “con­ven­tion­al topos” — “the threat of win­ter” found in Old Eng­lish poet­ry.

In one cal­en­dar poem, The Menologium, for exam­ple, “win­ter comes in like an invad­ing war­rior,” notes A Clerk of Oxford, “and puts autumn in chains, and the green fields which dec­o­rate the earth are per­mit­ted to stay with us no longer.… There are many, many exam­ples of win­ter as dan­ger and sor­row” in Medieval poet­ry.

The tra­di­tion of win­ter as a mar­tial invad­er con­tin­ues in mod­ern verse. In Robert Frost, snow forms “soft bombs.” Even when one is safe and warm at home, snow banked high around the walls out­side, win­ter threat­ens: the house is “frozen, brit­tle, all except this room you sit in.” But along­side these lit­er­ary scenes of unbear­able cold, we have the play­ful­ness and sub­lim­i­ty of win­ter, its abil­i­ty to ele­vate the ordi­nary, break up monot­o­ny, put a tem­po­rary end to dai­ly drudgery. Win­ter brings its own form of beau­ty, and its own fun: the soft bomb of the snow ball.

In one Mid­dle Eng­lish poem by Nico­las Bacon, titled “Of a Snow balle,” spring has noth­ing on win­ter even when it comes to love; the snow­ball fight becomes a pre­text for a roman­tic encounter:

A wan­ton wenche vppon a colde daye
With Snowe balles prouoked me to playe:
But the­is snowe balles soe hette my desy­er
That I maye calle them balles of wylde fyer.

In the delight­ful images here, culled from a num­ber of illu­mi­nat­ed man­u­scripts (and one fres­co, at the top), see Medieval Euro­peans play, flirt, and scoff at win­ter’s warn­ing in light­heart­ed snow­ball fights of yore.

via Pub­lic Domain Review

Relat­ed Con­tent: 

The Illu­mi­nat­ed Man­u­scripts of Medieval Europe: A Free Online Course from the Uni­ver­si­ty of Col­orado

Medieval Scribes Dis­cour­aged Theft of Man­u­scripts by Adding Curs­es Threat­en­ing Death & Damna­tion to Their Pages

Killer Rab­bits in Medieval Man­u­scripts: Why So Many Draw­ings in the Mar­gins Depict Bun­nies Going Bad

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

An Introduction to the Painting of Caspar David Friedrich, Romanticism & the Sublime

When Denis Vil­leneuve was announced as the direc­tor of the lat­est cin­e­mat­ic adap­ta­tion of Dune, few could have object­ed on aes­thet­ic grounds. The blast­ed sand plan­et of Arrakis, with its storms and worms, demands a sense of the sub­lime; to a unique degree among film­mak­ers work­ing today, the auteur behind Arrival and Blade Run­ner 2049 seemed to pos­sess it. Though long since vul­gar­ized to mean lit­tle more than “high­ly enjoy­able,” sub­lime has his­tor­i­cal­ly denot­ed a rich­er, more com­plex set of qual­i­ties. The sub­lime can be beau­ti­ful, but it must also be in some way fear­some, pos­sessed of “a great­ness beyond all pos­si­bil­i­ty of cal­cu­la­tion, mea­sure­ment, or imi­ta­tion.”

That quote comes straight from the Wikipedia page on “Sub­lime (phi­los­o­phy),” which also promi­nent­ly fea­tures Cas­par David Friedrich’s paint­ing Der Wan­der­er über dem Nebelmeer, or Wan­der­er above the Sea of Fog. Com­plet­ed around 1818, it has become a famil­iar image even to those who know noth­ing of Friedrich’s work — work to which they can receive an intro­duc­tion from the new video above by Evan Puschak, bet­ter known as the Nerd­writer.

Friedrich, he explains, was “asso­ci­at­ed with Ger­man Roman­ti­cism, a ris­ing intel­lec­tu­al and artis­tic move­ment” of the late 18th and ear­ly 19th cen­turies “that sought to recon­nect human­i­ty with feel­ing and spir­i­tu­al­i­ty” after the Enlight­en­ment so desta­bi­lized human­i­ty’s Weltan­schau­ung.

Friedrich’s land­scapes, real­is­ti­cal­ly paint­ed if not nec­es­sar­i­ly faith­ful to real places, “rep­re­sent the pin­na­cle of this move­ment.” They do this by con­vey­ing “the feel­ing he has in the pres­ence of the land­scape, the stag­ger­ing encounter with the divin­i­ty he sees in it. This is the essence of the sub­lime,” which took on spe­cial urgency in an era “when sec­u­lar­ism was threat­en­ing the core of Chris­tian­i­ty.”  More than reli­gion, the Roman­tics thus began to regard nature as awe­some (in the orig­i­nal sense), hum­bling them­selves before the great­ness of land­scapes real and imag­ined. The wan­der­er loom­ing above the sea of fog is actu­al­ly an excep­tion in Friedrich’s work, most of whose human fig­ures are small enough to empha­size “the vast­ness of the ter­rain” — a sub­lime-evok­ing tech­nique that we can still feel work­ing two cen­turies lat­er, Puschak points out, in Vil­leneu­ve’s Dune.

You can pre-order Nerd­writer’s upcom­ing book Escape into Mean­ing: Essays on Super­man, Pub­lic Bench­es, and Oth­er Obses­sions here.

Relat­ed Con­tent:

How Andrew Wyeth Made a Paint­ing: A Jour­ney Into His Best-Known Work Christina’s World

When Our World Became a de Chiri­co Paint­ing: How the Avant-Garde Painter Fore­saw the Emp­ty City Streets of 2020

Why Leonar­do da Vinci’s Great­est Paint­ing is Not the Mona Lisa

Bri­an Eno on Cre­at­ing Music and Art As Imag­i­nary Land­scapes (1989)

New Study: Immers­ing Your­self in Art, Music & Nature Might Reduce Inflam­ma­tion & Increase Life Expectan­cy

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Watch Laurie Anderson’s Hypnotic Harvard Lecture Series on Poetry, Meditation, Death, New York & More

These days the term mul­ti­me­dia sounds thor­ough­ly passé, like the apoth­e­o­sis of the 1990s tech­no-cul­tur­al buzz­word. But per­haps it also refers to a dimen­sion of art first opened in that era, of a kind in which trend-chasers dab­bled but whose poten­tial they rarely both­ered to prop­er­ly explore. But hav­ing estab­lished her­self as a for­mal­ly and tech­no­log­i­cal­ly dar­ing artist long before the 1990s, Lau­rie Ander­son was ide­al­ly placed to inhab­it the mul­ti­me­dia era. In a way, she’s con­tin­ued to inhab­it it ever since, con­tin­u­al­ly press­ing new audio­vi­su­al plat­forms into the ser­vice of her sig­na­ture qual­i­ties of expres­sion: con­tem­pla­tive, artic­u­late, high­ly digres­sive, and final­ly hyp­not­ic.

Ander­son­’s com­mit­ment to this enter­prise has brought her no few hon­ors. Biogra­phies often men­tion her time as NASA’s first (and, it seems, last) artist-in-res­i­dence; more recent­ly, she was named Har­vard Uni­ver­si­ty’s 2021 Charles Eliot Nor­ton Pro­fes­sor of Poet­ry. This posi­tion entails the deliv­ery of the Charles Eliot Nor­ton Lec­ture, a series meant to deal with poet­ry “in the broad­est sense,” encom­pass­ing “all poet­ic expres­sion in lan­guage, music, or the fine arts.”

Nor­ton lec­tur­ers pre­vi­ous­ly fea­tured here on Open Cul­ture include Leonard Bern­stein, Her­bie Han­cock, and Jorge Luis Borges. “I am pret­ty sure that the Nor­ton com­mit­tee at Har­vard made an enor­mous mis­take when they asked me to do this lec­ture series,” Ander­son told the Har­vard Gazette, “and it was real­ly my own sense of the absurd that made me want to say yes.”

Few could seri­ous­ly have doubt­ed Ander­son­’s abil­i­ty to rise to the occa­sion. She did, how­ev­er, face a unique chal­lenge in the his­to­ry of the Nor­ton Lec­tures: deliv­er­ing them on Zoom, that now-ubiq­ui­tous video-con­fer­enc­ing appli­ca­tion of the COVID-19 era. Despite belong­ing to a gen­er­a­tion not all of whose mem­bers demon­strate great pro­fi­cien­cy with such tech­nolo­gies, Ander­son her­self appears to have tak­en to Zoom like the prover­bial duck to water. Such, at least, is the impres­sion giv­en by “Spend­ing the War With­out You: Vir­tu­al Back­grounds,” her six-part Nor­ton Lec­ture series now avail­able to watch on Youtube. Its sub­ti­tle hints at one fea­ture of Zoom of which she makes rich use — but hard­ly the only fea­ture.

Through­out “Spend­ing the War With­out You,” Ander­son also super­im­pos­es a vari­ety of vir­tu­al faces over her own: Sig­mund Freud, Gertrude Stein, Loni Ander­son, and even her musi­cal col­lab­o­ra­tor Bri­an Eno. This sort of thing would­n’t have been pos­si­ble even in the long­time fan­ta­sy she cites as an inspi­ra­tion for these lec­tures: host­ing a radio show at 4:00 a.m., “a time when real­i­ty and dreams just sort of merge and it’s hard to tell the dif­fer­ence between them.” That’s just the right head­space in which to lis­ten to Ander­son make her ele­gant­ly spaced-out way through such top­ics as her life in New York, tai chi and med­i­ta­tion, lan­guage as a virus, the death of John Lennon, the cul­ture of the inter­net, Cather­ine the Great, the com­bi­na­tion of sound and image, The Wind in the Wil­lows, non-fun­gi­ble tokens, and Amer­i­can cheese. Tak­ing advan­tage of her dig­i­tal medi­um, she also plays the vio­lin, explores vir­tu­al realms, and dances along­side her younger self.

The col­li­sion of all these ele­ments feels not unlike Good Morn­ing, Mr. Orwell, Nam June Paik’s tele­vi­sion broad­cast of New Year’s Day 1984. Ander­son also took part in that project, shar­ing with Paik an artis­tic will­ing­ness to embrace new media. “I’ve almost always been a wire­head,” she says in these lec­tures 38 years lat­er. “But it’s become a night­mare in some ways, with peo­ple attached now to their devices, with a death grip on their phones. At the same time, it’s the same machine that cre­at­ed celebri­ty cul­ture.” Look­ing back on a “humil­i­at­ing” clip of her­self and Peter Gabriel per­form­ing on Good Morn­ing, Mr. Orwell, she recalls her state of mind dur­ing the com­mer­cial and tech­no­log­i­cal onrush of the 1980s: “Every­thing was mov­ing fast, and I just was­n’t think­ing. That’s my excuse, any­way.” See the full lec­ture series here, or up top. The lec­tures will be added to our col­lec­tion: 1,700 Free Online Cours­es from Top Uni­ver­si­ties.

Relat­ed Con­tent:

Hear Lau­rie Ander­son Read from The Tibetan Book of the Dead on New Album Songs from the Bar­do

Lau­rie Ander­son Intro­duces Her Vir­tu­al Real­i­ty Instal­la­tion That Lets You Fly Mag­i­cal­ly Through Sto­ries

Lou Reed and Lau­rie Anderson’s Three Rules for Liv­ing Well: A Short and Suc­cinct Life Phi­los­o­phy

Jorge Luis Borges’ 1967–8 Nor­ton Lec­tures On Poet­ry (And Every­thing Else Lit­er­ary)

Her­bie Han­cock Presents the Pres­ti­gious Nor­ton Lec­tures at Har­vard Uni­ver­si­ty: Watch Online

Leonard Bernstein’s Mas­ter­ful Lec­tures on Music (11+ Hours of Video Record­ed at Har­vard in 1973)

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Alberto Giacometti: A Documentary Look at the Life & Work of the Great Modernist Artist

Actor Stan­ley Tuc­ci has had a long­stand­ing inter­est in the great mod­ernist artist Alber­to Gia­comet­ti, so much so that he cre­at­ed a film about Gia­comet­ti called Final Project (2018). In this doc­u­men­tary, the Tuc­ci “reveals why Gia­comet­ti was one of the most relent­less­ly hon­est and enquir­ing artis­tic minds to have ever lived — a man riv­en by doubt in his own abil­i­ties, yet com­pelled to keep pro­duc­ing sculp­tures and paint­ings that are now hailed as some of the great­est of the 20th cen­tu­ry.” You can watch it above.  You can also view 1,000+ works (sculp­tures, paint­ings, draw­ings and dec­o­ra­tive art objects) by Gia­comet­ti in this online data­base.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent 

1,700 Free Online Cours­es from Top Uni­ver­si­ties.

An Inti­mate Look at Alber­to Gia­comet­ti in His Stu­dio, Mak­ing His Icon­ic Sculp­tures (1965)

Watch as Alber­to Gia­comet­ti Paints and Pur­sues the Elu­sive “Appari­tion” (1965)

 

How Did the Mona Lisa Become the World’s Most Famous Painting?: It’s Not What You Think

Leonar­do da Vinci’s unfin­ished, five cen­tu­ry-old por­trait of a Flo­ren­tine silk merchant’s wife, Lisa del Gio­con­do (née Gher­ar­di­ni), is, quite pos­si­bly, the most famous paint­ing in the world.

And its sub­ject pos­sess­es the world’s most cap­ti­vat­ing smile, inspir­ing rhap­sodies and par­o­dies in seem­ing equal mea­sure. (Its Ital­ian title, La Gio­con­da, is a nod to the sitter’s mar­ried name, and depend­ing on whom you ask, trans­lates as “joy­ous,” “light heart­ed,” or  “mer­ry.”)

The Lou­vre, where the paint­ing has resided since 1804 (fol­low­ing stints in Fontainebleau, the Grand Palace of Ver­sailles, and Napoleon Bona­parte’s bed­room), reserves a spe­cial mail­box for paeans from Mona Lisa fans.

Ask a ran­dom per­son on the street how this com­par­a­tive­ly dinky oil on wood came to be so uni­ver­sal­ly cel­e­brat­ed, and they’ll log­i­cal­ly con­clude it’s got some­thing to do with that smile.

Those with a back­ground in visu­al art may also cite Renais­sance inno­va­tions in paint­ing tech­nique — atmos­pher­ic per­spec­tive and sfu­ma­to, both of which Leonar­do employed to mem­o­rable effect.

Those are good guess­es, but the real rea­son for the Mona Lisa’s endur­ing glob­al renown?

The pub­lic’s love of a good crime sto­ry.

As art his­to­ri­an Noah Char­ney, author of The Thefts of the Mona Lisa: On Steal­ing the World’s Most Famous Paint­ing, recounts in the ani­mat­ed TED-Ed les­son above, La Gio­can­da owes her block­buster rep­u­ta­tion to a sticky-fin­gered Lou­vre employ­ee named Vin­cen­zo Perug­gia.

In 1911, Perug­gia, a painter whose day job involved build­ing crates for works in the Lou­vre’s col­lec­tion, hid in a cup­board for hours after clos­ing, then escaped via a back door, the unframed can­vas tucked beneath his arm.

The police papered the streets of Paris with the Mona Lisa’s like­ness on miss­ing fly­ers, and the press fanned inter­est in both the crime and the paint­ing. Read­ers devoured updates that iden­ti­fied poet Guil­laume Apol­li­naire and painter Pablo Picas­so as sus­pects, and steamy the­o­ries regard­ing the nature of the rela­tion­ship between Leonar­do and the lady in the por­trait.

As art crit­ic Lau­ra Cum­ming writes in The Guardian, “Mil­lions of peo­ple who might not have seen it, might nev­er even have heard of it, soon became experts on Leonar­do’s stolen paint­ing.”

For two years, its where­abouts remained unknown:

(Perug­gia) kept her in a cup­board, then under a stove in the kitchen, and final­ly in (a) false-bot­tomed trunk. For a while, he rather cock­i­ly propped her post­card on the man­tel­piece… But fair­ly soon he seems to have found her hard to look at, impos­si­ble to live with; there is evi­dence of repeat­ed attempts to sell her.

The thief even­tu­al­ly arranged to repa­tri­ate the pur­loined paint­ing to Italy, strik­ing a deal with Flo­ren­tine art deal­er Alfred Geri, who sum­moned the police as soon as he ver­i­fied the work’s authen­tic­i­ty.

The Mona Lisa was restored to the Lou­vre, where eager crowds clam­ored for a look at a new­ly mint­ed house­hold name they could all rec­og­nize by sight, as “news­pa­pers took the sto­ry for a vic­to­ry lap.”

Find a quiz and cus­tomiz­able les­son plan on the rea­sons behind the Mona Lisa’s fame here.

Hats off to ani­ma­tor Avi Ofer for his puck­ish sug­ges­tion that Leonar­do might have tak­en some flat­ter­ing lib­er­ties with Lisa del Gio­con­do’s appear­ance.

Relat­ed Con­tent:

When Pablo Picas­so and Guil­laume Apol­li­naire Were Accused of Steal­ing the Mona Lisa (1911)

Leonar­do da Vinci’s Note­books Get Dig­i­tized: Where to Read the Renais­sance Man’s Man­u­scripts Online

How Leonar­do da Vin­ci Made His Mag­nif­i­cent Draw­ings Using Only a Met­al Sty­lus, Pen & Ink, and Chalk

Leonar­do Da Vinci’s To-Do List from 1490: The Plan of a Renais­sance Man

Ayun Hal­l­i­day is the Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine and author, most recent­ly, of Cre­ative, Not Famous: The Small Pota­to Man­i­festo.  Fol­low her @AyunHalliday.

Explore the New 717-Gigapixel Scan of Rembrandt’s The Night Watch, the Most Detailed Photo Ever Taken of a Work of Art

Film­mak­er and seri­ous Rem­brandt enthu­si­ast Peter Green­away once called The Night Watch the most famous paint­ing in the West­ern world, behind the Mona Lisa, The Last Sup­per, and the ceil­ing of the Sis­tine Chapel. But if the resources devot­ed to its scruti­ny are any­thing to go by, the Dutch mas­ter­work has been gain­ing on those oth­er three in recent years. Can any work of Leonar­do or Michelan­ge­lo, for exam­ple, boast of hav­ing been dig­i­tized at a res­o­lu­tion of 717 gigapix­els, as the Rijksmu­se­um has just done with The Night Watch?

In fact, no oth­er work of art in exis­tence has ever been the sub­ject of such a large and detailed pho­to­graph. Each of its 717,000,000,000 pix­els, says the Rijksmu­se­um’s site, “is small­er than a human red blood cell.”

This neces­si­tat­ed the use of “a 00-megapix­el Has­sel­blad H6D 400 MS-cam­era to make 8439 indi­vid­ual pho­tos mea­sur­ing 5.5cm x 4.1cm. Arti­fi­cial intel­li­gence was used to stitch these small­er pho­tographs togeth­er to form the final large image, with a total file size of 5.6 ter­abytes.” You may remem­ber arti­fi­cial intel­li­gence also hav­ing played a role in the recon­struc­tion of the paint­ing’s miss­ing sec­tions, pre­vi­ous­ly fea­tured here on Open Cul­ture.

The result far sur­pass­es the dig­i­tal ver­sion of The Night Watch made avail­able by the Rijksmu­se­um in 2020, itself high-res­o­lu­tion enough to allow view­ers to zoom in to see the paint­ing’s every indi­vid­ual brush stroke. (It even out­does last year’s 10-bil­lion-pix­el scan of Girl with a Pearl Ear­ring, the best-known work by Rem­brandt’s fel­low Dutch mas­ter Johannes Ver­meer.) Now, writes Colos­sal’s Grace Ebert, you can see all the way down to “the cracked tex­ture of the paint, brush­strokes, and slight pig­ment vari­a­tions that wouldn’t be vis­i­ble even if you were stand­ing in front of the work itself.”

380 years after Rem­brandt paint­ed it, The Night Watch remains almost unique­ly strik­ing in its employ­ment of con­trast­ing shad­ow and light, all in ser­vice of a large-scale com­po­si­tion at once life­like and some­how more vivid than real­i­ty. This dig­i­ti­za­tion and the AI-assist­ed com­ple­tion are both arts of “Oper­a­tion Night Watch,” the thor­ough­go­ing restora­tion project now under­way at the Rijksmu­se­um, which will make all the ele­ments of that com­po­si­tion more imme­di­ate­ly vis­i­ble than they’ve been in gen­er­a­tions.

But the ques­tion of how, exact­ly, Rem­brandt achieved such pow­er­ful effects can be answered only through rig­or­ous exam­i­na­tion of each and every detail, an activ­i­ty open to all on the 717-gigapix­el scan at the Rijksmu­se­um’s site.

via Colos­sal

Relat­ed Con­tent:

What Makes The Night Watch Rembrandt’s Mas­ter­piece

Enter an Online Inter­ac­tive Doc­u­men­tary on Rembrandt’s The Night Watch and Learn About the Painting’s Many Hid­den Secrets

The Long-Lost Pieces of Rembrandt’s Night Watch Get Recon­struct­ed with Arti­fi­cial Intel­li­gence

The Restora­tion of Rembrandt’s The Night Watch Begins: Watch the Painstak­ing Process On-Site and Online

Late Rem­brandts Come to Life: Watch Ani­ma­tions of Paint­ings Now on Dis­play at the Rijksmu­se­um

A 10 Bil­lion Pix­el Scan of Vermeer’s Mas­ter­piece Girl with a Pearl Ear­ring: Explore It Online

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

How Fashionable Dutch Women (Like the Girl with a Pearl Earring) Got Dressed in 1665

Remem­ber how it felt to be bun­dled into tights, socks, jeans, a thick sweater, a snow­suit, mit­tens, only to real­ize that you real­ly need­ed to pee?

Back in 1665, the Lit­tle Ice Age com­pelled the well-to-do ladies of Delft to turn them­selves out with a sim­i­lar eye toward keep­ing warm, but their ensem­bles had a dis­tinct advan­tage over the Christ­mas Sto­ry snow­suit approach.

Reliev­ing them­selves was as easy as hik­ing their skirts, pet­ti­coats, and volu­mi­nous, lace-trimmed chemise. No flies for freez­ing fin­gers to fum­ble with. In fact, no draw­ers at all.

His­tor­i­cal cos­tumer Pauline Loven, a cre­ator of the Get­ting Dressed In… series, builds this elite out­fit from the inner­most lay­er out, above, not­ing that cloth­ing was an avenue for well-to-do cit­i­zens to flaunt their wealth:

  • A long, full, Linen or silk chemise trimmed with lace at the cuff
  • A waist-tied hip pad to bol­ster sev­er­al lay­ers of cozy, lined pet­ti­coats
  • An ele­gant silk gown com­prised of sev­er­al com­po­nents:
    • A flat front­ed skirt tucked into pleats at the sides and back
    • A laced up bodice stiff­ened with whale bone stays
    • Detach­able sleeves
    • A stom­ach­er for front-laced bodices
  • A loose fit­ting, fur-trimmed vel­vet or silk jack­et
  • Silk or woolen thigh-high stock­ings gartered below the knee (cre­at­ed for the episode by her­itage edu­ca­tor, and knitwear design­er Sal­ly Point­er)
  • A linen or silk ker­chief pinned or tied at the breast
  • Square-toed leather shoes with a curved heel (cre­at­ed for the episode by Kevin Gar­lick, who spe­cial­izes in hand­made shoes for re-enac­tors.)

Fash­ion­able acces­sories might include a foot warm­ing, char­coal pow­ered voeten stoof and under­stat­ed jew­el­ry, like the pearls Johannes Ver­meer paint­ed to such lumi­nous effect.

If that doesn’t tip you off to the direc­tion this his­toric recre­ation is head­ed, allow us to note that the atten­dant, who’s far from the focus of this episode, is garbed so as to sug­gest The Milk­maid by a cer­tain Dutch Baroque Peri­od painter who spe­cial­ized in domes­tic inte­ri­or scenes…and whose ini­tials are J.V.

The fin­ish­ing touch is a tur­ban of yel­low silk taffe­ta and blue silk dupi­on, an exot­ic ele­ment that may pro­duce a sense of deja vu in art lovers … and any­one who rel­ish­es a good art-based recre­ation chal­lenge.

View more of Pauline Loven’s work and Get­ting Dressed In… episodes focused on oth­er peri­ods at Crow’s Eye Pro­duc­tions’ YouTube chan­nel.

Relat­ed Con­tent:

How Women Got Dressed in the 14th & 18th Cen­turies: Watch the Very Painstak­ing Process Get Cin­e­mat­i­cal­ly Recre­at­ed

A Pre-Pan­tone Guide to Col­ors: Dutch Book From 1692 Doc­u­ments Every Col­or Under the Sun

Ghosts of His­to­ry: Dutch Artist Eeri­ly Super­im­pos­es Mod­ern Street Scenes on World War II Pho­tos

Street Art for Book Lovers: Dutch Artists Paint Mas­sive Book­case Mur­al on the Side of a Build­ing

Ayun Hal­l­i­day is an author, the­ater­mak­er, and the Chief Pri­maol­o­gist of the East Vil­lage Inky zine. Her lat­est book, Cre­ative, Not Famous: The Small Pota­to Man­i­festo, will be pub­lished in ear­ly 2022.  Fol­low her @AyunHalliday.

Brian Eno Shares His Critical Take on Art & NFTs: “I Mainly See Hustlers Looking for Suckers”

Image via Wiki­me­dia Com­mons

It can feel, in our inequal­i­ty-addled world, that we have lit­tle left in com­mon — that there is no “we,” just us and them. But mul­ti­ple crises dri­ving us apart have the poten­tial to unite the species. After all, a rapid­ly warm­ing plan­et and glob­al pan­dem­ic do threat­en us all, even if they don’t threat­en us equal­ly. Do solu­tions exist in the cre­ation of new forms of pri­vate prop­er­ty, new ways of mov­ing cap­i­tal around the world? Can the extinc­tion-lev­el byprod­ucts of cap­i­tal­ist com­mod­i­fi­ca­tion and waste be mit­i­gat­ed by inge­nious new forms of finan­cial­iza­tion? These seem to be the argu­ments made by pur­vey­ors of cryp­tocur­ren­cy and NFTs, an acronym mean­ing non fun­gi­ble tokens and — if you haven’t noticed — the only thing any­one in the art world seems to talk about any­more. Why?

Bri­an Eno has put his opin­ion on the mat­ter quite blunt­ly in a recent inter­view. “NFTs seem to me just a way for artists to get a lit­tle piece of the action from glob­al cap­i­tal­ism,” he tells The Cryp­to Syl­labus. “How sweet — now artists can become lit­tle cap­i­tal­ist ass­holes as well.” He obvi­ous­ly dis­ap­proves of using art sole­ly to gen­er­ate prof­it, but then if we know any­thing about Eno’s the­o­ry of cre­ativ­i­ty and influ­ence over the past sev­er­al decades, it’s that he believes the guid­ing rea­son for art is to gen­er­ate more art.

“If I had pri­mar­i­ly want­ed to make mon­ey I would have had a dif­fer­ent career as a dif­fer­ent kind of per­son. I prob­a­bly would­n’t have cho­sen to be an artist.” There’s utter­ly no use in try­ing to peg Eno as techno­pho­bic or out of touch; quite the con­trary. But the fic­tion­al finan­cial prod­ucts that have invad­ed every oth­er sphere of life have no place in the arts, he argues.

When asked why NFTs are tout­ed as a sal­va­tion for artists and the art world by cryp­tocur­ren­cy vision­ar­ies, includ­ing many of his friends and col­lab­o­ra­tors, Eno replies:

I can under­stand why the peo­ple who’ve done well from it are pleased, and it’s nat­ur­al enough in a lib­er­tar­i­an world to believe that some­thing that ben­e­fits you must auto­mat­i­cal­ly be ‘right’ for the whole world. That belief is a ver­sion of what I call ‘auto­mati­cism’: the idea that if you leave things alone and let some­thing or oth­er – the mar­ket, nature, human will – take its course unim­ped­ed you will auto­mat­i­cal­ly get a bet­ter result than you would by tin­ker­ing with it. The peo­ple who hold beliefs of this kind don’t have any qualms about tin­ker­ing them­selves but just want a sit­u­a­tion where nobody else gets to tin­ker. Espe­cial­ly the state.

That the sale of NFTs have only ben­e­fit­ted very few — to the tune of $69 mil­lion in a sin­gle sale in a recent high-pro­file case — does­n’t seem par­tic­u­lar­ly trou­ble­some to those who insist on their ben­e­fits. Nor do the cre­ators of NFTs seem both­ered by the enor­mous ener­gy over­head required by the tech­nol­o­gy, “an eco­log­i­cal night­mare pyra­mid scheme,” writes Syn­th­topia — of which Eno says: “in a warm­ing world a new tech­nol­o­gy that uses vast amounts of ener­gy as ‘proof of work’ — that’s to say, sim­ply to estab­lish a cer­tain age of exclu­siv­i­ty — real­ly is quite insane.”

Eno read­i­ly answers ques­tions about why NFTs seem so glam­orous — it’s no great mys­tery, just a new form of accu­mu­la­tion, com­mod­i­fi­ca­tion and waste, one in par­tic­u­lar that adds noth­ing to the world while has­ten­ing a cli­mate col­lapse. NFTs are the “ready­made reversed,” David Joselit argues: Where “Duchamp used the cat­e­go­ry of art to lib­er­ate mate­ri­al­i­ty from com­mod­i­fi­able form; the NFT deploys the cat­e­go­ry of art to extract pri­vate prop­er­ty from freely avail­able infor­ma­tion.”

The dis­course around NFTs also seems to lib­er­ate art from the cat­e­go­ry of art, and all that has meant to humankind for mil­len­nia as a com­mu­nal prac­tice, reduc­ing cre­ative pro­duc­tions to dig­i­tal cer­tifi­cates of authen­tic­i­ty. “I am try­ing to keep an open mind about these ques­tions,” Eno admits. “Peo­ple I like and trust are con­vinced [NFTs] are the best thing since sliced bread, so I wish I could have a more pos­i­tive view but right now I main­ly see hus­tlers look­ing for suck­ers.”

Relat­ed Con­tent: 

What are Non-Fun­gi­ble Tokens (NFTs)? And How Can a Work of Dig­i­tal Art Sell for $69 Mil­lion

What Is Blockchain? Three Videos Explain the New Tech­nol­o­gy That Promis­es to Change Our World

Cryp­tocur­ren­cy and Blockchain: An Intro­duc­tion to Dig­i­tal Currencies–A Free Online Cours­es from the Uni­ver­si­ty of Penn­syl­va­nia 

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

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