Hals, Malle Babbe

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Hals, Malle Babbe발음듣기

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(relaxed piano music) [Beth] Frans Hals' Malle Babbe is not an easy image to look at.발음듣기

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[Steven] Art historians have actually found documentation that this was a historical figure, somebody who actually lived in Harlem at this time.발음듣기

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She was, in fact, committed to the city of Harlem's insane asylum.발음듣기

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The owl comes from a Dutch expression "to be as drunk as an owl," but also a reference to the idea of night, and perhaps also a reference to Malle Babbe's nickname, which referred to her as a witch, and of course the owl is a signifier of witchcraft.발음듣기

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It's interesting to note just biographically that the artist's, Frans Hals, son was also committed there with her.발음듣기

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So it seems that the artist was perhaps inspired to explore madness in this very direct way.발음듣기

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[Beth] This is a very complicated picture in terms of the response that it evokes in us.발음듣기

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It's that feeling of seeing someone who isn't connected to reality anymore, and wondering what they're interaction is going to be with us.발음듣기

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Is she going to ask something of me?발음듣기

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Is she going to speak to me?발음듣기

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I want to back away.발음듣기

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[Steven] So it's the unpredictability, it's the risk that she'll too easily step outside of the conventions of interaction.발음듣기

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[Beth] And that I won't know how to respond to her, and that's very uncomfortable.발음듣기

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[Steven] So here we have an artist who is painting this image of her.발음듣기

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Maybe she sat for him, maybe she didn't, but it's an investigation of her insanity, it's an investigation of the dangers of drink, it's his own exploration of the world that his son inhabits, perhaps.발음듣기

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But it doesn't seem particularly sympathetic.발음듣기

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[Beth] I think he painted her very honestly.발음듣기

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I think that's part of the rapidity of the brush work, is that it is a caught moment.발음듣기

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[Steven] She appears out of control, and part of the reason for that is Hals' handling of brushwork.발음듣기

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You see this incredibly rapid, incredibly gestural brushwork.발음듣기

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It seems almost as if it is his signature across the surface.발음듣기

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Look, for instance, at the white at the bottom right that seems to be where she ties her apron, or look at the black line that defines the shadow at the end of the ruffle of her collar.발음듣기

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It is just electric.발음듣기

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We see his hand moving with lightening speed across that surface, and it seems to mimic the unease that this woman herself creates.발음듣기

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[Beth] I think the brushwork is a perfect metaphor for her state of mind, in a way that's really tragic.발음듣기

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We have this moment of laughter, yet what we're looking at is the tragedy of mental illness, and I think that's part of what makes us uncomfortable as viewers.발음듣기

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[Steven] Especially since laughter should take place in a social environment, and we don't know where she is.발음듣기

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But generally we would hope that she would be in a tavern with others.발음듣기

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Perhaps a joke had been told and she was responding.발음듣기

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But because that other information is not available to us, she's isolated with her own laughter, making this even more uncomfortable.발음듣기

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You know the 17th century in Holland was this moment when painting becomes modern, in that it begins to fulfill its potential to represent humanity in all of its facets.발음듣기

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No longer is painting relegated to the religious, no longer is painting relegated to the royal portrait, but there is this attention now to some of the complications that make us human. (jazz piano music)발음듣기

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