A Measure of Strength

My body may be broken

My mind may be weak

 

But I am still standing. 

The 7 Ps

“Prior Proper Planning Prevents Pi$$ Poor Performance.” – purportedly from an old saying from the British army. I don’t disagree.

Day at the Museum: Rijksmuseum

I really attempted to make the most of my short days here and I ambitiously set out to the Rijksmuseum to see as much art as I could. I believe I really did get through almost all the art excluding the Middle East room, as exhausting and unbelievable as that sounds!

I was laser focused.

Below are the pieces that really struck me one way or another for various reasons:

 

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Portrait of Hortense de Beauharnais, Queen of Holland, Anne Louis Girodet Trioson, 1805-1809, oil on canvas

Hortense caught my eye for her beauty, but also because of her relation to Napolean. I read up on her husband recently (step son of Napolean, son of Napolean’s first wife, hence my familiarity with Beauharnais his name), and the house of Beauharnais caught my attention as I read the placard to see who this painting’s beautiful subject was. Apparently she did not like the environment of the Netherlands, so even as a ruler there, she spent most of her time in court in Paris. huh.

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Sibylla Erythrea, Maarten van Heemskerck, 1564, oil on pastel
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Sibylla Erythrea, Maarten van Heemskerck, 1564, oil on pastel

Sibylla caught my eye for her beauty, and for her having been recorded in classic antiquity as having given prophesy about Jesus coming. This is news to me. I am excited to read more on it.

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Woman Reading a Letter, Johannes Vermeer, 1663, oil on canvas
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Children Eating a Pie, Bartolomé Esteban Murillo, 1675-1680, pastel

This looks so mischievous, and it made me smile. And so it’s here. Being nostalgic for the things we used to do as kids is good. to a degree. hopefully we can all continue growing up with it kept instead of looking back to mourn what’s good that’s been lost.

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A Rembrandt x Diego Valesquez special exhibition was up, and exhausted as I was by the end of my main museum roundabout, I could not miss this. It ended up being a little questionable. Not the works themselves, but the way they were curated, described, and the way the curators developed the narrative [dare I say it!] was poor, misleading, and unclear– like me during my high school days trying to write essays just to meet deadlines and pass with absolutely Zero intention of actually desiring to convey a point. That is really what it felt like.

The lamb (symbolizing Christ) was great though.

Other Rembrandt pieces were technically lovely, and I felt honored that I was able to see more of his pieces in person, but I’m not adding them here because they didn’t move me. Otherwise that would be an act of compulsion influenced by prestige, which is no bueno.

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This a scene depicting Bethsheba and David (in the castle peeking out of the squared piece) desiring after her. It’s a Bible scene (basically for anyone who does not read the Bible or does not remember, David fell in love with B, but she was already married to a guy that was under his rule (as king) so he sent the dude off in “war” (to be killed really) (and there goes another Bible story of how humans as great as kings make terrible, terrible mistakes)

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I loved this painting for its raw sensuality. It just jumped out at me and called me. Venus and her son is asking Adonis not to go. I love the way Adonis holds onto her lips tenderly like that, and that lovers’ gaze is real.

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Venus et Adonis, Ferdinand Bol, 1658, oil on canvas
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Satyr and Nymph, Gerard von Honthorst, 1623, oil on canvas

While this is definitely the more hedonistic counterpart to the former, I still find the scene very beautiful. Love, or love as it moves reveals itself in different forms and ways and meets different ends. While satyrs were mainly negatively characterized in tales of old, there is the wildness and freeness of them that I look to with positivity in part. I just love the play I saw. Even if it probably foreboded some very bad news bears between satyr and nymph (like when Pan chased after a nymph to the point she had to turn into reeds!).

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Lot and his Daughters, Hendrick Goltzius, 1616, oil on canvas

While this painting was technically rendered incredibly beautiful, the substance of it disturbed me very much. It recalls a Bible story of a time people were punished for their mistakes and so all the men were kaputed, except Lot. These are his daughters, who feared not being able to bear children, and so they got their father drunk and seduced him to bear. It conjures in me many thoughts too (like how sometimes, we’re *so* for getting to the end, we forget about the means that we’ve taken to get to the end).

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William II, Prince of Orange, and his Bride, Mary Stuart, Anthony van Dyck, 1641, oil on canvas

“The 14 year old boy is married with the 9 year old girl, and a kingdom is elevated.”

My thought ^ : basically opened a can of thoughts. So many ramifications to be unpacked

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Boy with a Drawing Book, Nicolas Bernard Lépicié, 1772, oil on canvas

This just makes me happy 🙂 And it reminds me of me, inside.

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Portrait of Rutger Jan Schimmelpenninck and his Family, Pierre Prud’hon, 1802-1802, oil on canvas

This reminds me of a family I would have liked to have had. Nuclear.

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Storage mirrors of the Netherlands

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Model by Johann Ernst Gotzowsky, 1750-1755, hard paste porcelain
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Ivory

 

 

Joris Bijendijk on Slow Food, Core Values, and the Rijksmuseum

What is the connection between museum and restaurant? How is museum collection translated in the menu?

It’s not translated in a cliché kind of way. I always say that there should be a logic in a fact that we are the restaurant of the Rijksmuseum. When you walk in, it feels like we are the part of the museum, but you won’t see art. The art is in the museum building and here drinks and food are being served. I think we have achieved to create a full experience. If people had a day in the museum and afterwards they come to RIJKS®, they will feel this full experience, all senses are being involved.

 

If people had a day in the museum and afterwards they come to RIJKS®, they will feel this full experience, all senses are being involved.

What is your vision of gastronomy?

We have a very strong philosophy. The general part of the philosophy is that we have the same core values as the museum: authenticity, quality, simplicity. We are open for everyone. In the kitchen we always have four principles. Number one is the choice of products. That’s actually the alphabet of the restaurant, our signature. Secondly – techniques, preparations, continuity and details. These four principles are always reflected in our dishes. And talking about choice of products- quality and Dutch origin.

Before working in RIJKS®I already wanted to work with Dutch products. This restaurant and me was a very good match. To give you an example, I thought that it’s strange that we don’t have farm pigeon in Holland, though a lot of restaurants are working with this product. After negotiations with one of Dutch breeders, the first Dutch farm pigeon was on the market. And now he has one of the best farm pigeons I’ve ever tried. It’s on our menu as well.

In RIJKS® we have the team of three chefs: Jos Timmer, Wim de Beer and me. We are all part of the Slow food alliance of Dutch chefs, meaning that we can put slow food products on our menu. Dutch slow food products belong to the Dutch tradition, Dutch culture and they are almost extinguished. Our job is to keep them from disappearing. We try to work as much as possible with slow food products.”

“A meta-analysis of 28 studies of women and girls aged 14 and older who had had non-consensual sex obtained through force, threat or incapacitation found that 60% of these victims didn’t acknowledge that they had been raped.

The stories behind the shockingly high numbers show one key reason that sexual assault often isn’t reported right away: it’s common for victims to need time to acknowledge what’s happened to them.

Labelling of unwanted sexual experiences is generally a gradual process, and one of the hallmarks of PTSD is emotional or behavioural avoidance of reminders of the trauma. In fact, 75% of the people who contact centres run by the organisation Rape Crisis England and Wales are seeking support for an assault that took place at least a year earlier.

Not only is there no link between how quickly someone reports an assault and how genuine this allegation is, but a number of social and psychological factors keep assault survivors from processing their experiences immediately.” – BBC

 

“One in six women in the United States will become a victim of sexual assault in her lifetime. Eighty percent of those rape victims will know their assailant—which leads to 20 percent, the number of assaults that will ever be reported in light of the massive societal barriers preventing victims from speaking out against a familiar face.
No one wants to talk about rape. Not your best friend. Not your boyfriend. It is too horrific a topic to wrap our brains around, and most people simply shut off if you begin to share your story. Then the questions and the doubt are near immediate: Did you say no? Did you fight back? How did it still happen? Did you fight hard enough? Were you flirting? Were you drinking? Did you scream? Did you cry? Did you go to the police?

With each question comes a whole new wave of self-doubt. Did I fight hard enough? Why didn’t I scream? Were my “no’s” loud and many enough? Did he see my tears? Did I lead him on??” – Sarah Bertness

Learning Words

Verlan is:

The inverse of French words, used colloquially and commonly by the French people, approximately since the 1970s. What you do is separate the word by its syllables, and invert the syllable order, whilst take into account the syllables’ pronunciations individually, deleting or adding a letter to fit.

Mycology is:

  1. the scientific study of fungi.

A Hypernym is:

  1. a word with a broad meaning that more specific words fall under; a superordinate. For example, coloris a hypernym of red.