In the 16th and 17th century, when the renowned painters of other European countries largely painted religious scenes and royal portraiture, the Netherlands developed genres of painting that reflected the mercantilist, increasingly secular culture that produced them. Wealthy merchants and other upper-class landowners had buying power to rival the Catholic church, and their patronage encouraged guilds to practice highly technical, sumptuous paintings of things: seashells and flowers, musical instruments, fine silver, and of course food — all improbably arranged onto an overflowing table and rendered in luminous layers of oil. MORE
Film director Jean-Luc Godard once quipped that all he needs to make a movie is a girl and gun. Of course, my question is: What about the bar? The often unheralded character of the silver screen is the old mahogany. Some of the most iconic movies include pivotal scenes in a bar where the protagonist faces some manner of catharsis, whether through ruin or rumination.
Imagine “Fast Eddie” (Paul Newman) in The Hustler shooting pool in a recreation center or Bob (Bill Murray) and Charlotte (Scarlett Johansen) in Lost in Translation meeting by chance in a Tokyo library. It’s just not possible. There’s a certain quality that a barroom exudes, where danger, intrigue, ritual and remorse all coalesce into a section of human experience only found when people drink together in a public place. These scenes could only have happened in a bar. MORE