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Monday, December 9, 2013

Last Call for Seeing Dutch Masters --and the Pre-Emptive Attack on Hilary Clinton--- from the Daily Beast


Art

Last Call for the Dutch Masters

Some of the Dutch Golden Era’s best works, including ‘Girl with the Pearl Earring,’ are making the final stop in their American tour at The Frick Collection. See them while you can. 
 
The Yayoi Kusama exhibit isn’t the only show in New York that people are willing to wait in long, cold lines to experience. At the Frick Collection on the Upper East Side, droves of visitors are turning out daily to see, Vermeer, Rembrandt, and Hals: Masterpieces of Dutch Painting From the Mauritshuis.

The collection, normally based at the Royal Picture Gallery Mauritshuis in The Hague, has been on a world tour while the prominent Dutch museum it calls home undergoes renovations. The Frick Collection is the final American stop for the exhibit, which includes fifteen works from the Dutch Golden Age, some of which have not travelled in decades.
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Mauritshuis Exibition October 22, 2013 to January 19, 2014 At The Frick Collection (Michael Bodycomb/The Frick Collection)
Roughly occurring in the 17th century, the Dutch Golden Age saw a rapid expansion in the Netherland’s wealth and power, both domestically after the Thirty Year’s War and internationally with the growth of the Dutch East India Company. Much of the increased wealth was spent cultivating one of the most significant levels of art production in history. Despite the plethora of Dutch works from this period that fill museums worldwide, some experts believe that only one to ten percent of the total art produced during this time survives.

The exhibition, organized by Margaret Iacono, Assistant Curator at the Frick, contains famous works like Vermeer’s Girl with the Pearl Earring, Fabritius’s The Goldfinch, and Rembrandt’s Susanna, and offers a glimpse into the values of this ascendant nation. Yet while the historical Dutch values (still relevant today) of industry, order, and modesty are often seen in landscapes and genre paintings of domestic daily life, the portraiture and history paintings in this collection show a culture more in tune with its newfound status. By structuring the exhibition as an introduction to this cultural epoch, the collection gives visitors a deeper understanding of how Dutch culture interacted with art during the Dutch Golden Age rather than being simply a greatest hits album of the Dutch masters.

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Jan Steen (1626 – 1679) “As the Old Sing, So Pipe the Young”, c. 1665 Oil on canvas (Courtesy The Frick Collection)
While the modern eye might see Jan Steen’s As the Old Sing, So Pipe the Young, and think the Dutch knew how to enjoy a good time, the painting is instead chastising the adults in the group for their lewd behavior at what is supposed to be a baptism, and is meant as a warning to young people. The exhibition’s audio guide (included in the price of admission) does an excellent job of illustrating for the untrained eye the various symbols in the paintings that, once deciphered, convey a lot more meaning. In Steen’s painting the symbols used to see the piece as a warning include oysters, a bagpipe, and foot warmer which connote debauchery and eroticism, and a parrot, which represents mimicry. Steen’s emphasis on moral turpitude can also be seen in the less-than-subtle Oyster Eater, which is intended to signify a woman who is not exactly virtuous.
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Johannes Vermeer (1632–1675) "Girl with a Pearl Earring," c. 1665 Oil on canvas (Courtesy The Frick Collection)
Then, of course, there is the famous painting that is probably drawing most people through the door (and the reason The Frick has extended Friday hours): Vermeer’s Girl with a Pearl Earring, which has not been shown in New York since 1984, is given the Mona Lisa treatment, the only painting that hangs in the Oval Room of the museum.  The piece, popularized by Tracy Chevalier’s 1999 novel and subsequent film adaptation, is a type of Dutch portraiture known as tronie, which often portrays imagined exotics people or idealized faces. The “Sphinx of Delft,” as Vermeer was known, clothes the alluring female with exotic appurtenances like a turban and larger-than-life pearl drop earring.
The other big attractions include Carl Fabritius’s Goldfinch, which has long captivated audiences with its eerie, life-like quality. The bird, seen chained against a white backdrop, is a magnificent trompe l’oiel believed by some to have been placed inside a cage, which would provide a clever illusion. In addition, Rembrandt’s Portrait of an Elderly Man, painted in the artist’s famous “rough” style, and portraying a man at the end of his years in a way that captures his wisdom and insight about life, but also perhaps his slight disappointed with it. Jacob van Ruisdael’s View of Haarlem with Bleaching Grounds depicts the industry-clad landscape long associated with the Dutch Lowlands.
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A man views "The Goldfinch" (1654) by Carl Fabritius (Stan Honda/AFP via Getty)
But the most exhilarating piece in the collection is arguably Rembrandt’s Susanna. Telling the story of Susanna, who was spied on by Babylonian elders as recounted in the book of Daniel, this historical painting represents Rembrandt’s mastery. The raw emotion of the painting’s subject is palpable, as Susanna clamors to cover herself, turning her tearful eyes to the viewer both in fear and a plea for help. Her form, while beautiful, is not idealized, and, in the renowned Dutch attention to detail, her legs still bear the marks made by her stockings.

The best thing about the exhibition, however, may be that it entices people to explore the rest of the Frick’s world-class collection housed in the beautiful mansion of the former industrial magnate. With the Dutch masters only occupying two rooms, the rest of the mansion is given over to the permanent collection, which is made up of some of the best pre-Modern European art. From Hans Holbein the Younger (whose Sir Thomas More is always more vivid in person) and El Greco to Thomas Gainsborough, Titian, and some fantastic medieval enamels tucked away in an alcove, the Frick itself always worth a stop.

Vermeer, Rembrandt, and Hals: Masterpieces of Dutch Painting From the Mauritshuis is on Display at the Frick Collection until January 19, 2014. Children under ten will not be admitted to the museum.
Photo by Cliff Owen/AP

Politics

The Pre-Emptive War on Hillary Clinton

Crushed in the 2012 ground and data game, the GOP has learned its lesson—and is knee deep in Clinton oppo-research. From health care to the Hillary films, it’s already working.
 
Smack dab in the middle of this jolly holiday season, Republican National Committee chairman Reince Priebus set political tongues wagging when he told radio bomb-thrower Hugh Hewitt that the party’s oppo-research machine is already combing through the metaphorical trash of a certain blond Democratic presidential possible. (Hint: It’s not Elizabeth Warren.)

Faster than you can say “Hillaryland,” Priebus’s words were tweeted, blogged, and otherwise splashed about as though the man had just admitted to sacrificing live chickens in the basement of Karl Rove’s house.

The more appropriate response would have been, “Well, duh!”

Of course Republicans are hard at work prepping for 2016. They’d be nuts not to be. “It’s standard operating procedure in this media environment,” observes Kevin Madden, a former campaign spokesman for Mitt Romney. “The only real surprise would be if research work wasn’t being done.”
One of the big lessons the GOP took from its epic 2012 fail: Define your opponent early and often and—most important—before he (or she) manages to define you. “There were certainly lessons learned from the 2012 campaign,” says Tim Miller, who toiled as RNC spokesman during the cycle. “The Obama campaign did a really good job starting early in building up infrastructure both for its ground campaign and from a data standpoint—both of which have been covered ad nauseam—but also from an opposition research standpoint in defining Mitt Romney.” Not that Team Obama labored alone, says Miller, noting that the campaign was richly aided in its mudslinging by the Democratic National Committee and by the fledgling oppo-research outfit American Bridge 21st Century.
Republicans have no intention of getting out-slung again. In March, Miller, along with ex-Romney campaign manager Matt Rhoades and ex-RNC political director Joe Pounder, joined forces to give their team an oppo-research firm of its own, America Rising. The group’s aim, explains executive director Miller, is to create a research infrastructure that can be applied to any race. Of the 30 or so current staffers (with more to come!), some are hard at work on midterm races, such as the effort to unseat Sen. Mark Pryor (D-AR). Researchers also are keeping tabs on Democratic rising stars, including Cory Booker, Kirsten Gillibrand, and the Castro brothers. “We’re cataloging all the video of them and all of their quotes now,” says Miller, “so we don’t get caught unprepared like we did with President Obama—someone who rose very quickly.”

But who are we kidding? The scream-inducing specter haunting Republican dreams is President Hillary Rodham Clinton. It may be absurdly early in the election cycle. The first-lady-turned-senator-turned-secretary-of-state may ultimately decide not to run. But until further notice, Clinton is the 800-pound badass silverback whom Republicans are dead set on keeping out of the Oval Office at all costs. So it is never too early to start stripping the shine off her star.

To that end, just a few weeks after its rollout, America Rising and its sister PAC launched a special project and fundraising portal wholly devoted to stopping Clinton—named, intuitively enough, Stop Hillary 2016. “We need to begin to define Hillary now and have a group focused entirely on that so that we’re not missing opportunities to hold her accountable,” says Miller.

America Rising is “very, very focused on Hillary every single day. Our research department is as well,” RNC press secretary Kirsten Kukowski stresses to me via email.

That means not just digging through old speeches and interviews and law firm records and files from the Clinton presidential library (yes, America Rising has staff on the ground in Arkansas) for potentially inflammatory statements or positions but also reanalyzing her record in the context of today’s news climate. For instance, offers Miller, “Hillary might have said something about NSA oversight in the 2000s that might not have rung any bells in 2008.”

Or take health care. Combing through old video, Miller’s researchers found a 2007 clip of Clinton assuring voters that, under her health care reform plan, they could keep their doctors and insurance. America Rising snapped up that remark, tied it to Obama’s discredited “If you like your plan, you can keep it” promise, and hung the whole thing around Clinton’s neck. As StopHillary2016.org now trumpets, “It was Hillary who first made the ‘if you like your insurance, you can keep it’ promise. And as first lady, it was Hillary who pursued big government health care even vaster in scope than President Obama.” The group also posted the Clinton clip on its Tumblr.

Seem a tad excessive? OCD, even? Maybe. But such obsessiveness has already proved effective. In late July, when both NBC and CNN announced film projects focused on Hillary, the RNC’s Priebus went ballistic. Inside of a week, he had fired off open letters of complaint to the networks’ chairmen and hit the chat show circuit to decry media bias. On August 12, the RNC began rolling out a four-part series of pushback ads titled “Will the Hillary films include...” that cheekily wondered if CNN and NBC would “forget” to explore certain ticklish topics, such as Benghazi, the SEC probe into Clintonite Terry McAuliffe’s business dealings with Clinton’s brother Tony Rodham, the scandal that swallowed Democratic fundraiser Norman Hsu, and Bill Clinton’s “pardon & clemency scandals.” On August 16, RNC officials unanimously voted to exclude both CNN and NBC from the 2016 primary debates. By the end of September, both networks had nixed their Hillary projects.
As far as Republicans are concerned, to beat back the Hillary threat, there is no such thing as too much—or too soon.

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