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Frans Snyders

Content
The article is about Flemish painter Frans Snyders who is known for his paintings of still lifes, and most notably animals. The article begins with a short biography of he artist and is later divided into sections about life, and work. The work section further highlights more specific details about the artist's work and education, and points out the fact that his style changed and broadened after some study in Italy and learning of some Italian style, which was subsequently shown in his work. The language is pretty straightforward without too much descriptive or vivid language. The information does not seem biased as it only details some simple facts about the artist and his subjects. There is the use of words like "probably" which seems a little unverified and redundant.

Talk Page
The talk page is pretty basic and does not include a lot of information, and is rated as a Start. Mostly some talk about missteps and what the page is lacking. It is, however, associated with WikiProject Biography, WikiProject Netherlands, WikiProject Visual arts, and WikiProject Belgium.

Relation to Class
The artist and his work relate to the class as he is a Flemish painter of the 17th century, though not described or categorized as Baroque. Snyders has also collaborated with some well-known Dutch painters of the era. He is somewhat unique thus far in his painting of animals, but has also followed the traditions of other Dutch painters.

The new Dutch Republic was the most prosperous nation in Europe and led European trade, science, and art. The northern Netherlandish provinces that made up the new state had traditionally been less important artistic centres than cities in Flanders in the south. The upheavals and large-scale transfers of population of the war, and the sharp break with the old monarchist and Catholic cultural traditions, meant that Dutch art had to reinvent itself. The painting of religious subjects declined sharply, but a large new market for all kinds of secular subjects grew up.

Although Dutch painting of the Golden Age is included in the general European period of Baroque painting, and often shows many of its characteristics, most lacks the idealization and love of splendour typical of much Baroque work, including that of neighbouring Flanders. Most work, including that for which the period is best known, reflects the traditions of detailed realism inherited from Early Netherlandish painting.

Frans Hals' tronie, with the later title Gypsy Girl. 1628–30. Oil on wood, 58 cm × 52 cm (23 in × 20 in). The tronie includes elements of portraiture, genre painting, and sometimes history painting.

The Blinding of Samson, 1636, which Rembrandt gave to Huyghens

A distinctive feature of the period is the proliferation of distinct genres of paintings, with the majority of artists producing the bulk of their work within one of these. The full development of this specialization is seen from the late 1620s, and the period from then until the French invasion of 1672 is the core of Golden Age painting. Artists would spend most of their careers painting only portraits, genre scenes, landscapes, seascapes and ships, or still lifes, and often a particular sub-type within these categories. Many of these types of subject were new in Western painting, and the way the Dutch painted them in this period was decisive for their future development.Paragraph: Set the style of your text. For example, make a header or plain paragraph text. You can also use it to offset block quotes.

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/"As the Old Sing, So Pipe the Young" (Jan Steen)

Soo voer gesongen, soo na gepepen is a c.1668-1670 oil on canvas painting by Jan Steen, now in the Mauritshuis in the Hague. The painting is a celebratory scene that didactically depicts a Dutch family as the proverb "As the old sing, so pipe the young", which serves as an allegory about parental examples and how children imitate the behaviors and habits of their parents.

Steen is distinguished for depicting himself in his paintings, as well as members of his own family.

Symbolism
The painting consists of a gathering of family members (parents, children, grandparents) around a table that is draped with a pictorial carpet typical of Dutch scenes.

Woman in a green coat and pink skirt

Oyster

Parrot

Bagpipe

Father teaching son to smoke. Steen has included himself in his usual supporting role, here as the father in the rear right teaching his younger son to smoke a pipe.

External links https://www.mauritshuis.nl/nl-nl/verdiep/de-collectie/kunstwerken/soo-voer-gesongen-soo-na-gepepen-742/?gclid=CNaKj4y9uc8CFaMK0wodzWYK8Q

Genre paintings show scenes that prominently feature figures to whom no specific identity can be attached – they are not portraits or intended as historical figures. Together with landscape painting, the development and enormous popularity of genre painting is the most distinctive feature of Dutch painting in this period, although in this case they were also very popular in Flemish painting. Many are single figures, like the Vermeer's The Milkmaid; others may show large groups at some social occasion, or crowds. There were a large number of sub-types within the genre: single figures, peasant families, tavern scenes, "merry company" parties, women at work about the house, scenes of village or town festivities (though these were still more common in Flemish painting), market scenes, barracks scenes, scenes with horses or farm animals, in snow, by moonlight, and many more. In fact most of these had specific terms in Dutch, but there was no overall Dutch term equivalent to "genre painting" – until the late 18th century the English often called them "drolleries". Some artists worked mostly within one of these sub-types, especially after about 1625. Over the course of the century, genre paintings tended to reduce in size.

Though genre paintings provide many insights into the daily life of 17th-century citizens of all classes, their accuracy cannot always be taken for granted. Many which seemed only to depict everyday scenes actually illustrated Dutch proverbs and sayings or conveyed a moralistic message – the meaning of which may now need to be deciphered by art historians, though some are clear enough. Many artists, and no doubt purchasers, certainly tried to have things both ways, enjoying the depiction of disorderly households or brothel scenes, while providing a moral interpretation – the works of Jan Steen, whose other profession was as an innkeeper, are an example. The balance between these elements is still debated by art historians today.

Gerrit van Honthorst (1625), punning visually on the lute in this brothel scene

The titles given later to paintings often distinguish between "taverns" or "inns" and "brothels", but in practice these were very often the same establishments, as many taverns had rooms above or behind set aside for sexual purposes: "Inn in front; brothel behind" was a Dutch proverb.

The Steen above is very clearly an exemplum, and though each of the individual components of it is realistically depicted, the overall scene is not a plausible depiction of a real moment; typically of genre painting, it is a situation that is depicted, and satirized.

The Renaissance tradition of recondite emblem books had, in the hands of the 17th-century Dutch – almost universally literate in the vernacular, but mostly without education in the classics – turned into the popularist and highly moralistic works of Jacob Cats, Roemer Visscher, and others, often based in popular proverbs. The illustrations to these are often quoted directly in paintings, and since the start of the 20th century art historians have attached proverbs, sayings and mottoes to a great number of genre works. Another popular source of meaning is visual puns using the great number of Dutch slang terms in the sexual area: the vagina could be represented by a lute (luit) or stocking (kous), and sex by a bird (vogelen), among many other options, and purely visual symbols such as shoes, spouts, and jugs and flagons on their side.

= Marwa Arsanios/ = (born 1978)is an American artist, researcher,and filmmaker.

Biography
Marwa Arsanios was born in Washington, D.C. She received a Masters of Fine Arts (MFA) degree from Wimbledon College of Arts at the University of Arts, London, UK in 2007, and has served as a researcher in the Fine Arts department at the Jan Van Eyck Academie, Mastrict, Netherlands. She is a founding member of the 98weeks Research Project, which serves as a project space that concentrates its research endeavors on topics that rotate on a schedule of 98 weeks.

Work
Through the use of topographical maps, video, and installation Arsanios brings awareness to environmental issues affecting the city of Beirut, Lebanon, where she is based. Recent projects such as Hammer Projects: Marwa Arsanios (2017) explore the garbage crisis in Beirut caused by political changes, urbanization, and a recent real estate boom in the city. At the core of these changes is the closure of the Naameh landfill located on the outskirts of the city. The closure has led to health and environmental concerns by the people of Beirut. Arsanios’ work addresses such an event in order to shed light on the national conflicts and the futures of Lebanese people. Arsanios' other works incorporate elements of Pop culture, sexuality, geography, and history.

Exhibitions

 * Hammer Projects: Marwa Arsanios (2016-2017)
 * Marwa Arsanios, Still From Falling is Not Collapsing, Falling Is Extending (2016)
 * All About Acapulco (2010)
 * I've Heard 3 Stories (2009)