I wondered as I walked past Hals’ portraits of the bourgeoisie, how else did his painting techniques mock the rich and why is that being left out from the explanations of his great “genius”? For art historians, the inhibited face of the regent must have been facial paralysis, his reversed hat must have been how fashion at the time worked, etc, etc, etc. As Berger cites, art historians swear that to read any resentment or bitterness from Hals in these pictures would be incorrect, even when Hals boldly depicted a drunken regent. Those standing in front of him in the Regents of the Old Men’s Almshouse paintings were the administrators of such charity. During the winter of 1664, Hals was starving to death, and he had to apply for “public charity”. Berger explains that art historians have purposefully “mystified” his paintings, giving the example of a reading of Hal’s Regents of the Old Men’s Almshouse. I have seen his portraits of wealthy citizens so many times at the Rijks, yet not a single time is his background mentioned. When reading John Berger’s Ways of Seeing, I was shocked to find out that THE Frans Hals struggled so much through poverty. What I found funny nonetheless is how none of the other paintings have a historical context since a great majority of the subjects depicted are members of the government, military, or, just, the bourgeoisie. Some of them try to historicize the paintings by explaining how the painter, the event, or the figures depicted were connected to slavery. Took them more than 200 years, but better than nothing- I suppose. In my visit, I noticed that lately, the museum has added white boxes next to some of their paintings with the title of X and slavery (example: the church and slavery), in some late and vague attempt to incorporate the dark history of colonization and slavery of the Netherlands. One narrative that the museum has been trying to correct is that of the history between the museum and slavery. The whole reason I was there was because a month prior I read John Berger’s Ways of Seeing and its analysis of the history of art and class made me wonder what overarching narratives museums like the Rijks tell. I quickly listened to my audio guide hoping to find more information, but all of the explanations were limited to “symbolisms” of death, and the textures of the paintings. She explained that 1) to show the opulence of the Dutch empire, most of the food shown in these paintings was imported, and 2) that during the Golden Age, each Dutch upper-middle-class household had at least 1 of these paintings. We use the term “Free” below when the content is available for Free or “Free Collections” when it’s a site that normally require you to pay but they offer a great amount of multimedia for free as well.The last time I was at the Rijksmuseum, I overheard an actual tour guide share two juicy facts about Dutch still life. Please note: There are many sites and services which on the surface looks like they provide free media but in reality they have minimal of free content and you would need to pay for a subscription (sometimes quite expensive) to access the media. Take a look at our other article for a great overview of presentation software for churches and worship. These videos are usually used together with presentation software like PowerPoint or SlideDog. be used to wish your audience a great holiday with a nice animation running in the background. Many of such videos also include suitable texts which can e.g. What separates this multimedia is that it focuses on categories like holidays, announcements, crosses, symbols, Jesus and more. This guide will help you navigate free and paid services that provide Christian video backgrounds, motion loops, countdowns and clips which can be used for worship, churches, sermons and more. Christian organisations are becoming more and more digital and have become really good at integrating multimedia into their events.
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