link. when the project is complete, the museum will be twice as large, modern and up to date visitor facilities will include new space for educational program. auditorium, a shop and cafe, and new exhibition galleries. the elegant design for this substantial expansion will be calibrated for the atmosphere of the morris house. this due to reopen in mid 2014. we were told they are definitely on schedule to reopen in 2014. if you plan to make the trip now, you can probably book your tickets safely, although don't hold me accountable for that. we have a special opportunity

to enjoy a superb collection from the morris house here in san francisco. so my lecture is organized to correspond with the section headings for each gallery. the sequence in which i will discuss the paintings correspond with the layout. the first gallery exhibition is devoted to landscape paintings. dutch landscape and it's characteristic atmospheric conditions provided countless artist with rich subject matter. it's sprawling fields and ubiquitious canals with beautiful natural surroundings. the low lying horizons and cloidz at clouds that dominated

the paintings. many dutch landscapes also feature the regions beautiful and prosperous cities which were sources of great pride in the 17th century artist painted close-ups. here we see his painting of the circus party 1690 which features the morris house. this looks quite similar to what you would see today although when he painted the picture, you wouldn't have this view, there were a row of buildings here, so this is a little bit of artistic license and interesting to think about because this is way the site looks today but wouldn't have looked like that in 1690 when he paint this picture. this is

the gate that is still here today. this is the catholic church by manuel. this is the only type of it's exhibition. although it is an interior scene, the 17th century dutch painting which is the artist attention to the effect of life. here the artist subject is the atmosphere and play of light in an imagined catholic church. diffused light through the church. bathing interest rain shower interior with the glow and architectural space. here we see view of harlem with

bleaching ground 1675. he was the leading painter of this golder age. view of harlem with bleaching ground not until the bash zone schools he painted on easels to look what was going to be translated. it's something to look at artist typically from going back to the studios and painting. another example master full approach to the landscape genre is evidenced here in landscape 1660-1670. he has captured the forest with ice, frost and snow covered

ground. the virtually monochromatic scene. it's interesting to point out that 17th dutch paintings is related to the usual climactic conditions at the time. from 1850 all of western europe experienced an ice age. he painted 25 winter landscapes during the most severe period of relative cool summers and cold winters. most of europe is experience is a cold winter so she's dragging her suit case behind her to make sure she got

here for the open exhibition. there are actually 2 famous dutch painters ruisdael whose paintings we just looked at. he's also represented in our exhibition of this gallery. health and safety here is his view of his painting from 1648 which is in our own collection. if we compare the two paintings, we see similarity in the cloud t low horizon line and the small scale in the figure of the boat and the small scale of the natural world and the beautiful reflection on the water. these

two paintings demonstrate the very best paintings. another pioneer of this genre is january van joeg an from 1653 and this is thunderstorm from 1541 at the collection of the fine arts museum. this painting and van rios painting i showed you are in our other building in linkin park. here we see the two paintings side by side. the thunderstorm shows figure overcome by a powerful tempest where a van voin manipulates master full creations. in both compositions, the low lines

emphasize the cloud which over power the skies. height ening the thunderstorms and the waves to white cap peaks. yet the distant horizon which suggest the two paintings can be a before and after pair. which they are not, but i'm taking a bit of art historical period there. two superb examples wooded landscapes and cattle in the meadow in 1662.

other artist went further in search of subject matter. some went to italy where the renaissance as well as the radiant southern landscape provided fruitful sources of inspiration. the mediterranean art that emanates from italian landscape circa 2045. the next version is the distinct to dutch still life paintings in the 17th century. these were

painted with a light ed candle from 1627. compositions also became looser and sophisticated. and rachel's vase of flowers from the 1500s. the were in the conservation lab that were not included in the exhibition in japan and seeing for the first time here in san francisco. both of the house of lights are resemblance of the fine arts museum flowers in a silver vase by luna, which is on view. here we see all 3

flora still lights together. similarities between the 3 paintings include the watches, as well as the creepy crawlingie critters the significant number of floral still life's from this period spread the wide life. blossoms from multiple studies in different seasons. merchants and explorers brought plants from their travels including the tulip. tulip was first brought from can turkey.

prompting people to spend large sums cultivating new species. today tulip is the next export. many still life paintings also contain morals references and creepy flowers and insects, time pieces and skulls. and which is seen here in the venice still life by peter from 1630. we also see very similar details between the still life with peter clay which was painted in 1629. the open pocket watches are references to the transient of life since they remind us of the passing

of life. since they record perishable and paint as long as the canvas remains intact. the sublime light filters through the light and reflection on the inside of the glass as well as the optical effects of the objects that shine through the glass. while these still life paintings are filled with a variety of details, there are some still life's in the exhibition which are much more spare. such as adrian, from 1704. although much of this artist details are shrouded in

history. notice how the branch and the beautifully rendered leaves catch the light on the right hand corner. it gives this piece a magical feeling as if these apricots are beyond just mere fruit. there are 67 paintings recognized by court's hand. an exhibition entirely devoted to the artist. there are about half of the known works in this exhibition and the director of the morris house remarked that she thought for herself that maybe this exhibition won't be popular because all of his tend to be the same, you have a stone slab and fruit and it was definitely

popular and shows the demand of this artist skill and his paintings or so beautiful even though they are spare and he's so mysterious. an artist does not need to be -- a highlight of an exhibition. a competition, my favorite painting in the exhibition. this is particularly exciting since it is considered an icon of dutch 17th century paintings. created in 1654 this competition is 1 of 12 paintings which survived. he studied in rembrandt studio

long with his brother. it's represent in his own collection this painting was off view and now has returned to our conservation studio. tragically, painter of the gold finch died in his early 30s. his studio was a gun powder magazine. an explosion occurred and it completely destroyed carl 's studio. numerous works were lost. although his existing paintings are view,

his impact on other artist cannot be overlooked. his quality for his compositions, and paired to hoek who are known for they are effects, elusionism and quite atmosphere and fluid control of paint. one interesting detail about the the condition of the painting is if you look very closely on the surface you might see that there are scattered very small dense and this painting is dated the same year as the gunpowder explosion. it's a story we can't prove but kind of a romantic story that this painting was once in a studio and perhaps they are caused by some debris during the explosion. it a story we can't prove but something to speculate about.

the next section of the exhibition is devoted to portraits to figural paintings which we call chornie. i will talk about it later in my talk. the extensive production of paintings in the dutch golden age of the economic prosperity and enjoyed by the dutch republic. from all walks of life, these from their realism, diversity and exceptional quality. the examples that are on sflu view in this gallery demonstrate a wealthy information about their subject through their dress and environments. like many photographs taken today 17th

century portraits were taken from weddings. from 1625 him and his wife are exceptional examples of large scale marriage portraits. other typical occasions for commissioning portraits were births. capture the innocence of a beloved child. one of rembrandt's pupil. we see why he became a painter. the child's face reveal his own mature vocabulary. for those

who have seen the exhibition it's exhibited next to rembrandt's work and you can see the two side by side. from this period, who was most famous for his self portraits. at the time, the paintings, is a copy of the original tradition of rembrandt. here you see the two paintings together which makes a subtle variations evident. the angle of the head and more controlled and refined manner of the brush work and copy on the left suggest that these paintings are probably not by the same hand. we now have scientific evidence which further suggest that the morris picture is a studio copy perhaps by the

talented artist gart who is rembrandt's first people. you may remember he allegiance of honor in the summer of 2011. the reason why they think it's other than rembrandt because of the discovery of infrared that there is a sketchy black charcoal beneath the painted layers. under drawing is not characteristic of rembrandt's work. i'm not saying it definitely isn't by rembrandt, or it is by rembrandt. this am biguity is -- scientist have

given us more information about what is going on behind-the-scenes but we don't know for sure that rembrandt didn't paint the picture. as i said it was unlikely and unusual for rembrandt to do any drawings under compositions but as was pointed out to me, it also could have been rembrandt's way of saying i can do this, and i can make a portrait that looks like this. so at this time we simply don't know. this exceptional portrait from 1632 literally illuminates this amsterdam leading portraits only having established the year before. realm rembrandt's with striking

3-dimensional and this particular style was well suited for the requirement of his prosperous clientele. this portrait is in exceptional condition and one rembrandt employed through his constant work. paint passages in this composition vary from paso to diligent. you may wish to visit at the allegiance of honor where he's currently on view in gallery 14. for our portrait was painted when the artist was only 26. this portrait of an

elderly man was completed in 1627. where as the quality of some artist work declines noticeable towards the end of their lives. rembrandt's late composition is characterize by pictorial eloquence. throughout his career he refined his brush work lend ing his numerous work. here we see the dynamic and right original approach to the dutch masters and one of the favored personality. a praise from 1631 on the left

and susanna from 1636 on the right. here his technique, the emotional power of his compositions, and the dramatic plays of light and shadow takes center stage. these are but a few key elements that describe rembrandt exceptional command of paint and canvas. promise you i will tell you more about troenie. it's from 1635 also by rembrandt, a different category. these were not intended as likeness as people. they are called troenis. they were intended studies of certain facial expressions or figure types. sometimes artist used their own faces as

rembrandt was particularly fond of doing. their rich detail develops a character within a single frame and contributing to this popularity of genre. the most famous troenie is the girl with the pearl earring which i will discuss next and now painting you have all been waiting for, please don't get up and leave after i talk about her. the enigmatic girl with the pearl earring. the girl who is idealized and brightly lit phase is unknown. her exotic attire lends the picture an

aura of tranquility. like leonardo davinci monalisa as the most famous painting in the world. while the girl's face is modeled with invisible brush strokes, her clothing are much more expressively painted. small subtle reflexes of life ven compass the compositions and her eyes and lower lips and her famous pearls. her ultra marine pigment, la paz lapis

lazuli -- in a wet mixed with paint. broad thick brush work where her jacket is more rendered. a paint which applied over a dark background has darkened considerably with age. at the time the painting was stable but it's appearance was far from ideal. the tinted varnish yellowed with age and created an uneven effect. these products of previous restorations were removed without damageing the original paint and the thin layer of varnish was added. retouching was executed. today the

masterly reflections of light are once again revealed. the final gallery of exhibition is devoted to genre paintings that seem to be taken from everyday life. their subject matter ranges broadly from rustic folk, to elegant men and women in sumptuous interiors. it's interesting to point out that this painting hangs next to the girl with the pearl earring. these were viewed as realistic depiction. now many genre contain deeper meanings with virtus