I wrote already about TEFAF artfair in Maastricht, few times even; although ‘wrote’ would be perhaps to big a word to use, in all those cases I only posted a few selected images, in an attempt to convey atmosphere of the event.  I made many more pictures at the fair, and think it would be a shame to keep them for myself only.

Besides, I recently re-started my blog about mirrors in art, and decided to make a story about ‘mirrors at the TEFAF’; it would be nice to have a backdrop of some sort for that mirror story, and so this posting.  Again, I don’t plan to write a lot, may be a few explanatory remarks when necessary, although I hope that these image are self-explanatory.  As before, I made most of then in HDR format, to both reflect (sic!) the typical yellowish light of the premises, and also a distinctive glamour look & feel of the event.

There is no particular logic in the order, I follow my trajectory along the TEFAF halls, which was fairly arbitrary.

< mirrors in art> Mirror I  </ mirrors in art>

< mirrors in art> Mirror II  </ mirrors in art>

< mirrors in art> Mirror III  

</ mirrors in art>

< mirrors in art> Mirror IV

</ mirrors in art>

Sometimes I have copes of the paintings people are looking at, published in a (also digital) catalogue of the exhibition; in this case, it’s Winter Landscape (1856), by Barend Cornelis Koekkoek (1803-1862).

< mirrors in art> Mirror V

</ mirrors in art>

The painting on the left is an interesting one; it’s a double-authored work: the figures and the trees on the left side of this Landscape with Travelers (1610) are made by Jan Brueghel the Elder, while the right side, with a castled and sea shore, by Tobias Verhaecht, Flemish master who also studied the art of landscape painting in Italy.

I noticed at the booth of this gallery a magnifying glass – a rather rare exception, regretfully; I’d expect more visual aid tool provided by the galleries:

Surprisingly, no one was using it; I had an idea to take a picture of people using it, but alas. At the end I asked a gallery to kindly ‘enact’ the viewing with a magnifying glass:

This image I left intact, without HDR-ing it, to also show how dark it was in the booth (and in the show in general, of course):

I whined a bit about the lack of ‘visual aid’ tools… I guess, soon we will be aided by all sort of e-tools when going to art exhibitions:

<mirrors in art> Mirror VI  </ mirrors in art>

< mirrors in art> Mirror VII  </ mirrors in art>

I wrote already that this woman was actually taking a sketch of the painting; here you can even see some details.  The artwork is in fact one of the gems of this year TEFAF, it’s Mater Dolorosa (1510) by Quinten Massys:


< mirrors in art> Mirror VIII  

</ mirrors in art>

< mirrors in art> Mirror IX  

</ mirrors in art>

< mirrors in art> Mirror X  

</ mirrors in art>

< mirrors in art> Mirror XI  

</ mirrors in art>

< mirrors in art> Mirror XII 

</ mirrors in art>

< mirrors in art> Mirror XIII

</ mirrors in art>

One of the very last pictures I took; everyone is very tired.

This is not my picture; I took it from the catalogue to show that I am not the only one who take pictures of people of various baldness from the back.

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