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Rachel Ruysch (1664-1750)

Famous both at home and abroad

Rachel Ruysch Vaas Met Bloemen Mh0151 Mauritshuis

Rachel Ruysch was one of the most successful Dutch still life painters of the 17th and 18th centuries. Her refined paintings with colourful, lifelike flowers were among the best of the kind at the time. Ruysch was a court painter for a German prince and the first woman to be a member of the artists’ society Pictura in The Hague. She was famous both at home and abroad.

Life in The Hague and Amsterdam

Promising start, fictional compositions, work and motherhood, rich clients.

Ruysch was born in The Hague, but grew up in Amsterdam. She was the oldest daughter of Frederik Ruysch (1638-1731), a famous professor of anatomy and botany. She learned to paint from Willem van Aelst (1627-1683). At that time, he was the best still life painter in Amsterdam. When Ruysch was almost thirty she married the painter Jurriaan Pool (1666-1745). They had ten children, but most of them died young. Ruysch continued to paint until she was very old. At the end of her life, a collection of poems about her paintings was published. This was very unusual. No other Dutch artist had ever had this honour.

Gerrit Adriaensz Berckheyde Jachtstoet Bij De Hofvijver Den Haag Mh0796 Mauritshuis

Ruysch grew up in a family where she had more opportunities than most other women at that time. Her father Frederik Ruysch had developed a new way of preserving body parts. This meant that the human body could be studied more closely than ever. Frederik had a large collection of curiosities (unusual objects), including stuffed animals, dried plants and preserved body parts. He also made fantasy landscapes using preserved human organs and babies’ skeletons. His collection was popular with tourists and many important guests came to see it. Frederik was also an amateur painter, and he made scientific drawings of his collection.

Rachel also drew and painted her father’s collection. Her drawings were so good that at the age of fifteen she was given permission to train as an artist. This was not unique, but it was unusual for a girl. Almost all women who became professional painters in the 17th and 18th centuries came from a family of artists, like Ruysch. She was also very lucky that she could paint her father’s collection of curiosities. This, plus her great talent for painting, made it much easier for Ruysch to reach the top of the art profession.

Ruysch worked with great care and tried to paint everything as naturally as possible. Guided by her teacher Van Aelst, she started painting ‘forest floors’: pictures of snakes, snails, toads and insects among plants and bushes. She painted insects, blades of grass and small flowers using a very fine brush. Ruysch also used real moss, dipped in paint, to give the texture of the forest floor.

Willem Van Aelst Bloemstilleven Met Horloge Mh0002 Mauritshuis

Ruysch’s paintings show flowers, plants and animals that would never be seen together in the real world. That is because she used living and preserved models. In her flower paintings she combined flowers that came out in different seasons. She found rare plants from faraway countries at the Hortus Botanicus botanical gardens, where her father taught botany. Her father’s collection also included rare plants. He had a way of preserving them that made them look like they were flowering forever.

Ruysch was very unusual for a woman in her day. She carried on her successful career even after she became a wife and mother of ten children. Female painters, no matter how talented or successful they were, normally stopped painting when they married. The few who continued painting did not usually work much. At that time, people thought a married woman had other responsibilities.

Although there were more female artists working then than we often think, there were very few compared to male artists. They were regarded with admiration, and also with suspicion, and sometimes they were called ‘men in a woman’s body’. People thought that artistic talent was something only men could have.

Ruysch sold her paintings to rich collectors and European royalty for very high prices. She only needed to sell a few paintings a year. From 1708 to 1716 Ruysch worked for Johan Wilhelm, Elector Palatine – a German prince – who lived in Düsseldorf. She had a large family by then, and the prince did not make her move to Düsseldorf. He allowed her to live in Amsterdam, if she provided one painting a year. He paid her very well, so she never had any money problems. And when she won 75,000 guilders in a lottery at the age of 59, she became a rich woman herself.

Discover more about the paintings by Ruysch in the Mauritshuis

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Rachel Ruysch (1664–1750)

Rachel Ruysch Dutch and Michiel van Musscher Dutch

On view at The Met Fifth Avenue in Gallery 638

Over a career that spanned more than six decades, Ruysch attracted royal patronage, high prices, and effusive praise for her still-life paintings. Here, she collaborated with Van Musscher, a portraitist, contributing an extravagant floral arrangement to his depiction of the painter in her studio. A poetic inscription on the album of floral studies in the foreground documents the collaboration and invites viewers to evaluate the two artists’ respective merits.

Rachel Ruysch (1664–1750), Rachel Ruysch (Dutch, The Hague 1664–1750 Amsterdam), Oil on canvas

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Artwork Details

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Title: Rachel Ruysch (1664–1750)

Artist: Rachel Ruysch (Dutch, The Hague 1664–1750 Amsterdam)

Artist: and Michiel van Musscher (Dutch, Rotterdam 1645–1705 Amsterdam)

Medium: Oil on canvas

Dimensions: 30 × 25 in. (76.2 × 63.5 cm)

Classification: Paintings

Credit Line: Purchase, Adele Veronica Satkus Bequest, Walter and Leonore Annenberg Acquisitions Endowment Fund, Lila Acheson Wallace, Women and the Critical Eye, Charles and Jessie Price, and Henry and Lucy Moses Fund Inc. Gifts, Victor Wilbour Memorial Fund, Hester Diamond Gift, and funds from various donors, 2023

Accession Number: 2023.91

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  • From A.D. 1600–1800


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Dutch Painter

Rachel Ruysch

Summary of Rachel Ruysch

Ruysch was a Dutch painter who, with Jan van Huysum, is the most celebrated exponent of still lifes and flower pieces to emerge during the Dutch Golden Age . She painted elegant bouquets and dark forest flora with such attention to detail, and such delicacy of colour, they are considered amongst the very finest pieces in the long tradition of Dutch still life painting. A successful and celebrated artist in her own lifetime, she was the first female member inducted into The Hague's painter's society, was then appointed court painter to the Elector Palatine in Düsseldorf and accepted many prominent commissions from international patrons (including Cosimo III de' Medici). Ruysch remained artistically active throughout her long life and proudly inscribed her age (83) on of one her last canvases.


  • As a mother of ten children, Ruysch bore considerable domestic responsibilities. Yet in addition to her role as care provider and homemaker, she was a prolific painter, producing over 250 works in a seven-decade career (an extra impressive output when one takes account the concentrated level of detail in her pictures). Her art brought her widespread international and domestic acclaim. In the Netherlands she was known affectionately as Hollants Kunstwonder ("Holland's art prodigy"), Onze vernuftige Kunstheldin ("Our subtle art heroine"), and the Onsterflyke Y-Minerf ("Immortal Minerva of the Amsterdam").
  • Such was its naval power, the Netherlands became the dominant force in global commerce during the second half of the seventeenth century. This new age of prosperity provided the backdrop for the famous Dutch Golden Age of painting. Ruysch's art is indicative of the phenomenon that became known as "tulip mania". Her paintings spoke to the Dutch people's love of rare, imported flowers (such as the Turkish tulip) that were valued above other commodities for their natural beauty and fragrance.
  • Ruysch's painting showed an exquisite attention to picture realism with flora details - stems, leaves, petals and so on - that are scientifically exact. She was remarkably skilled at capturing textures, from fragile petals to brittle leaves. Moreover, Ruysch depicted insects, reptiles and small mammals - crawling caterpillars, pollen gathering bees, dragonflies, and the like - with the same artistry and precision.
  • Although she was celebrated for her dedication to life-like detail, many of Ruysch's compositions were conjured from her imagination. She often brought together flowers, plants, and animal life that would never be found together in nature. Dutch floral artists of the period typically arranged flowers according to type, but Ruysch's more "haphazard" and dramatic Baroque compositions stand out as a reaction to lighter floral paintings that were painted in the more usual Mannerist style.
  • In the Netherlands during the sixteenth and seventeenth century, artistic genres were divided into two categories: "greater" and "lesser". The former accounted for historical and religious themes; the latter, still lifes, portraiture and landscapes. But Ruysch (and Rembrandt for that matter) did more than any other to elevate the credibility of "lesser" genres. She emerged as one of the greatest flower painters (of either sex) and her success provided inspiration to other female artists including Clara Peeters, Judith Leyster , Michaëlina Woutiers, and Maria van Oosterwijck.

The Life of Rachel Ruysch

Details of the portrait of Rachel Ruysch by Godfried Schalcken (c. 1695-1700)

Germaine Greer wrote in The Obstacle Race , "[Ruysch's] taste in choosing and balancing blooms, colours, light and backgrounds was perfect", while adding that "the finish of her painting [was] soft, clear and flawless".

Important Art by Rachel Ruysch

Insects and Lizard in a Wood (1684)

Insects and Lizard in a Wood

In this work, typical of Ruysch's early years, we see a section of dark forest floor painted in dark browns and greens. On the right-hand side, a green, leafy plant, stands illuminated by natural light. Surrounding it are flying white and orange butterflies and moths, and a green lizard at its base. This type of painting is referred to as sottobosco , or "forest floor" painting, and Ruysch drew inspiration for her early sottobosco works from Otto Marseus van Schrieck, Abraham Mignon, and her teacher, Willem van Aelst. A technique she adopted was the use of real moss, and sometimes even butterfly wings, to directly apply paint, creating the painted surface with a real sense of texture. After her main compositions had been painted and dried, Ruysch then used fine brushes to add the details, including slender blades of grass, tiny flowers, and creatures (like the insects and lizard in this work) that populate the microcosms created within each of her works. Arts writer Alexxa Gotthardt explains that Ruysch "swiftly gained a reputation across Amsterdam for the enchanting realism of the plants and insects that filled her paintings; they weren't idealized, but rather alluded to mortality and the life cycle". Art historian Barbara Morgan writes, "In her earliest works, Ruysch closely followed the dramatically lit woodland scenes of the Dutch painters of the previous generation [specifically van Schrieck and Mignon]. Ruysch depicted forestal vignettes complete with small-scale creatures. Characteristically, Ruysch repeats Schriek's motif of the lizard with a butterfly perched in its open mouth, but minimizes the menacing import of such a creature by reducing its scale and by relegating it to the fringe of the composition". In this way, her paintings are often understood as sorts of vanitas or memento mori , that is works that remind the viewer of death and the fleetingness of existence. As art historian Lynn Robinson put it, "Wealthy Dutch consumers were being reminded to not become too attached to their material possessions and worldly pleasures; eternal salvation came only through devotion to God".

Oil on canvas - Fitzwilliam Museum, Cambridge, England

Roses, Convolvulus, Poppies and Other Flowers in an Urn on a Stone Ledge (1688)

Roses, Convolvulus, Poppies and Other Flowers in an Urn on a Stone Ledge

Morgan writes that, "Ruysch practiced her art in the Baroque period of art history. Baroque art was a style that arose in Europe [...] as a reaction against the Mannerist style, an intricate and formulaic approach that dominated the late Renaissance period [whereas the] Baroque style was less complex and more realistic". She notes that flower painting became a key feature of late 17 th century Baroque art and that "factors influencing its emergence included the growing and more affluent merchant and middle classes, as well as the growing interest in plants that resulted from the developing science of botany". In this work, a pyramid-shaped bouquet of colorful flowers sits in a short, rounded terracotta vase on a windowsill. The inclusion of an architectural feature in flower paintings was a popular trend in the Netherlands at the time. As is typical of her earlier paintings of bouquets of flowers, the composition is tightly focused, compact, and clearly defined. As in many of her works, closer examination reveals a multitude of insects fluttering and crawling in and among the flowers, which include peonies, roses, nasturtiums, foxgloves, and more (all painted in near microscopic detail). Indeed, perhaps the most striking feature of Ruysch's oeuvre is the inclusion of entire ecosystems within a single work (and not just in her outdoor sottobosco works, but in her indoor bouquets as well). It was between 1660-70 in Northern Europe that the microscope was improved upon significantly and used widely by scientists to study biology. It gave rise to a widespread interest in identifying, cataloguing, and categorizing the natural world. Ruysch no doubt developed this interest during childhood, watching her father carefully curate his cabinet of curiosities, and the dioramas he made from the specimens in is collection. Her paintings treat each plant, insect, and animal as a scientific specimen, while blending these objects into a beautiful compositional harmony.

Oil on canvas - National Museum of Women in the Arts, Washington D. C.

A Still Life with Devil's Trumpet, a Cactus, a Fig Branch, Honeysuckle and Other Flowers in a Blue Glass Vase Resting on a Ledge (1690)

A Still Life with Devil's Trumpet, a Cactus, a Fig Branch, Honeysuckle and Other Flowers in a Blue Glass Vase Resting on a Ledge

This work features a mixture of flowers and other plants in a vase, against a dark architectural background. It exemplifies the way in which Ruysch used her "artistic license" to combine plants and flowers that would never appear together in the natural world. As art historian Marsha Meskimmon notes, Ruysch's fusion of "exquisite realism and imaginative composition" was innovative, as it neither "conformed simply to the predominant conventions of allegorical floral still-life in the period nor to those of scientific illustration, yet participated in both". As an added note of interest, Ruysch was thought to be the first Western painter to include cacti in still life paintings (seen here in the top left of the frame). A Still Life with Devil's Trumpet has an overall cool, bluish hue, creating the sense that the bouquet is being studied under laboratory lighting. Moreover, in this, and many other works, Ruysch placed her bouquets in transparent glass containers, reminiscent of the glass beakers and jars that her father would have used to house his organic specimens. Even the way in which Ruysch presents single plants from multiple angles indicates the creative mindset with which she approached flower painting. Morgan writes that "Ruysch was known for these lively and informal looking arrangements. The flowers are asymmetrically arranged [...] Light alternates with shadow, enlivening the flowers as they stand out dramatically against the darker background".

Oil on canvas - Private collection

Still-Life with Fruit, Flowers, and Insects (1711)

Still-Life with Fruit, Flowers, and Insects

This work, painted for Cosimo III de' Medici, the grand duke of Tuscany, features a bounty of fruits and vegetables typical of the autumn harvest. It includes grapes, corn, peaches, and wheat, all sitting out-of-doors on a bed of moss. A small bird's nest filled with eggs sits at the bottom left, and insects, a lizard, and a snail are also present in the scene. Not only does this painting demonstrate Ruysch's technical virtuosity in terms of representing natural objects in perfectly realistic detail (note, for instance, the velvety texture of the peaches and the misty sheen of the grapes), but also her keen eye for color, as seen in the joyous balance of reds and greens. This work highlights the agricultural richness and plentitude of the Tuscan region, by showing off the wide variety of crops yielded in the area. However, religious significance can also be read into the work, with the grapes and wheat symbolizing the bread and wine of the Eucharist. Some historians read Ruysch's paintings in the form of vanitas and that works such as this represented the Christian doctrine that all beauty withers and that all organic life, in the end, must die. Ruysch's paintings celebrated the beauty and luxury of harvest foods and botanical life, but vanitas were ultimately a reminder of the fleeting nature of organic life. Although they do not qualify as devotional pieces, the underpinning message was universal: "eternal salvation comes only through devotion to God".

Oil on canvas - Uffizi Gallery, Florence

Flowers Still Life (1726)

Flowers Still Life

Flowers Still Life presents a bouquet of mostly white and pink (with some blue) mid-summer flowers in a vase, against a very dark stone ledge, with creatures including a bee, a caterpillar, and a butterfly hidden within the composition. As art historian Lynn Robinson notes, it is an excellent example of the "complex", "lively", and "informal" arrangements for which Ruysch was known and which stood her apart from the more formal painters of her time. Ruysch employs sweeping diagonals and dramatic curves, drawing the eye dynamically around the image. Art historian Barbara Morgan observed that Ruysch had adopted Abraham Mignon's practice of placing cultivated plants in natural settings, but she shied-away from his liking for Christian symbolism (such the goldfinch) by focusing on decorative effect over iconography. Later in her career, Ruysch's favored more open, sprawling, and frame-filling arrangements, around which she suggests a greater sense of atmosphere and moisture. Curator Lawrence W. Nichols comments upon the way in which, "the artist placed in the center the brightest and lightest flowers and endowed depth to the arrangement through darker tones at the edges. Such attention to aesthetic details and formal devices attests to Ruysch's remarkable technique, as well as to her skill at artifice". Morgan adds that "Against the dark background, the flowers seem almost revealed in a photographic light. In this way, her works were similar to paintings done by eighteenth-century artists such as Jan van Huysum, Jan van Os and Johan Christiaan Roedig. In fact, with her innovative techniques, Ruysch employed a style that can be seen as a transition from 17 th -century to 18th-century flower painting".

Oil on canvas - Toledo Museum of Art

Biography of Rachel Ruysch

Rachel Ruysch had a unique upbringing which saw her raised in an environment of art and science. One of twelve siblings, she was born to Frederik Ruysch, an eccentric anatomist and botanist, and Maria Post, whose father (Rachel's grandfather) was the renowned imperial architect Pieter Post, and whose brother (Rachel's great uncle) was the leading landscape painter, Frans Post. They were a prominent and wealthy family who relocated from The Hague to Amsterdam, where they lived on Bloemgracht (the "flower canal"), a popular location for visiting artists. Frederik took up the position of Amsterdam's praelector (college officer) of anatomy in 1667, and later professor of botany at the city's botanical garden.

Frederik collected a variety of unique natural specimens - plants, animals, insects, human body parts - for his cabinet of curiosities, which occupied five whole rooms of their home. He had developed a new method of embalmment, which allowed him to preserve organic matter in a seemingly natural state. Indeed, Ruysch's father was famed for his cabinet curiosities and would artfully pose his collection of embalmed and wax-injected organs, animals, plants, and body parts in macabre dioramas (such as a severed child's hand and forearm hand holding a hatching turtle egg). Frederik would proudly present his curious Memento Mori (death mementoes) to invited foreign visitors and young Rachel enjoyed drawing these objects, which she learned to do with a high degree of accuracy. Her drawings were used by Frederik (himself a competent draftsman) for cataloging purposes.

Ruysch taught her father Frederik to draw and paint, allowing him to illustrate the objects from his cabinet of curiosities, including the bizarre dioramas which he created.

Frederick was an admirer of Otto Marseus van Schrieck, a painter from Nijmegen, who had served at royal courts in France and Tuscany. He was well known for his paintings of reptiles and insects who populated the world of plants, shrubs, moss and fungi. In Italy this style of forest floor painting was called sottobosco (or bosgrondjes , in the Netherlands). On the event of van Schrieck's passing (in 1678) Frederik acquired several of his paintings as well as numerous insect specimens. Rachel scrutinized these artworks, and her earliest paintings demonstrate van Schrieck's influence.

Although he was himself a decent enough draftsman, the art historian Marsha Meskimmon notes that it is vital not to overlook the importance of Rachel's influence on her father's drawings: "published images were a crucial means of disseminating scientific knowledge throughout Europe in the period and Rachel's contribution to this facet of Frederick's practice was quite valuable [...] visual exchanges between anatomical cabinet and still-life painting developed, both laden with symbols for moral contemplation while also presenting specimens for detailed observation".

When she was fifteen, Frederik permitted his daughter to be apprenticed to renowned flower and still life painter Willem van Aelst, whose Amsterdam studio looked out over the studio of flower painter Maria van Oosterwick. Ruysch studied with van Aelst for four years (until his passing). He not only taught her to paint, but also to arrange flowers so that they would look less contrived. The art historian Barbara Morgan writes, "[Van Aelst] was famous for creating elaborate still-life paintings that featured spiralling compositions and eschewed the convention of symmetrical arrangements of depicted bouquets. [His] somewhat irregular approach translated itself into the works of his pupils. Among them were Ruysch, [Ernst] Stuven, and Ruysch's younger sister Anna Elisabeth, who also became an artist of recognized merit, although she never attained the stature of her more determined sister". By the age of eighteen, Ruysch was already making a name (and living) for herself while rubbing shoulders with the city's most popular flower painters and horticulturists.

Mature Period

The chance to study and develop her own painting career set Ruysch apart from most women of her time. While her choice to paint flowers and still lifes was deemed "appropriate" subject matter for women artists, still life painting had grown in popularity as a genre. As historian Lynn Robinson states: "In 1648, the Netherlands became independent from Spain, ushering in a period of great economic prosperity. Flourishing international trade and a thriving capitalistic economy resulted in a newly affluent middle class. Wealthy merchants created a new kind of patronage and art market. Without a powerful monarchy or the Catholic Church to commission artworks (the Dutch were Protestants), artists produced directly for buyers. Like today, buyers purchased art either from professional dealers or from the artist in their studios. Subjects like big historical, mythological or religious paintings were no longer desired; buyers wanted portraits, still lifes, landscapes and genre paintings (scenes of everyday life) to decorate their homes. Proud of their newly independent country and trade wealth, they desired artworks that would reflect their success".

Ruysch's career ran parallel to the growth of the country's burgeoning horticultural industry and a fervent interest in the science of botany. Robinson writes that the Netherland's became "the largest importers of new and exotic plants and flowers from around the world". Where previously valued by the markets for their medicinal uses, flowers became desirable commodities highly prized for their simple beauty and fine fragrance.

the art tourist rachel

Botanists and gardeners sought the rarest specimens imported from overseas trade and tulips - "coveted for their intense and unusually varied colors" - were prized above all others. (Imported initially from Turkey in the late sixteenth century, the Netherland's had recently experienced a period referred to as "Tulip Mania". Robinson writes that "Tulip bulbs were so avidly desired in 17 th century Netherlands that [...] Buyers bought bulbs still in the ground, speculating that they would be worth more in the future and could then be sold for a large profit. However, in 1637, "investors suddenly decided that tulip bulbs were grossly overpriced [...] Prices plummeted, tulip bulbs lost 90% of their earlier value, and the market crashed. The world had just experienced its first financial bubble".)

In 1693, Ruysch married the successful portrait painter (and adopted son of Mignon), Juriaen Pool. The couple would go on to have ten children. Despite being more than occupied with her domestic situation (and even if the family's status suggested they were very likely to have had hired domestic help), Ruysch continued to paint, producing over 250 paintings over seven decades. Her painting career brought in steady income for the family, with Ruysch earning, on average, more per painting during her lifetime than even Rembrandt . As Morgan writes, "Ruysch's work found a receptive audience and contemporary writers praised her extensively. Such esteem was admirable for any painter, but especially so for a woman. As Johan van Gool wrote in 1750, her artfulness 'was all the more astonishing and to be praised in women, who by nature are destined to other occupations'. Despite such gendered trepidations, Ruysch earned international renown for her expertly wrought and pleasingly arranged creations".

Ruysch became a member of "independent" Confrerie Pictura society between 1701-08, and, in 1709, she achieved the honor of becoming the first female member of The Hague's artist's society, The Guild of St. Luke (the very society to which members of Confrerie Pictura had been opposed). Between 1708 to 1716, she served as court painter to Johan Willem, Elector Palatine of Bavaria, who resided in Düsseldorf. It was at the elector's court, writes Morgan, that "she began to employ the newly discovered pigment Prussian blue, an inexpensive means of summoning luminous blues. Similarly, Ruysch utilized a smooth touch to craft crystal-clear surfaces".

Ruysch's youngest child, a boy, was born when she was 47 and she decided to call him Jan Willem in honor of Palatine, and who, with his wife, agreed to act as the boy's godparents. When Ruysch travelled to Düsseldorf to introduce them to their godchild, Johann Wilhelm presented him with a valuable medallion on a red ribbon while Ruysch was gifted a 28-piece silver toilet set in a decorative toilet case featuring six decorative silver sconces.

Late Period

the art tourist rachel

It is widely believed that, while court painters were expected to relocate, Ruysch commanded such respect she was permitted to stay with her family in Amsterdam. This view is, however, contradicted by Morgan who states that the family did in fact move to Düsseldorf where they lived between 1708-16. In either case, Ruysch continued to paint for both the Elector and many wealthy Dutch patrons during her tenure as court painter. Morgan writes in fact that, "When Ruysch and Pool returned to Amsterdam in 1716, Ruysch brought her aristocratically fostered aesthetic with her and continued to paint elegant still lifes such as Still Life with Flowers on a Marble Table Top ".

Now settled permanently in Amsterdam, Ruysch accepted commissions from many prominent domestic and international patrons, including Cosimo III de' Medici, and, according to historian Dániel Margócsy, refused "to adapt [her] work and personal identity to the desires of a particular patron".

In this 1716 portrait, Ruysch's husband, Juriaen Pool, indicates his admiration of his wife's impressive talent by painting her front and center, and by depicting himself gesturing toward her painting.

In the spring of 1711, Ruysch was visited by a German scholar, Zacharias Conrad von Uffenbach. She had recently completed paintings for Pieter de la Court van der Voort, a cloth merchant from Leiden (who paid Ruysch the princely sum of 1,500 guilders; a stipend many times greater than the average annual salary). Von Uffenbach commented enthusiastically on the "exceptionally delicate brushwork" and noted that while working on two small square panels for Cosimo de' Medici, she had surrounded herself with "all kinds of birds' nests, insects and suchlike".

Juriaen had been commissioned by the Elector to paint his wife's portrait, though he turned it into a family portrait, painting Rachel and himself with Jan Willem presenting his mother with the medallion he had been given by the Elector (his godfather). The painting was completed in 1716 as news broke that the Elector had died. Although Ruysch had lost her most important patron, she was still kept busy with commissions. The family was well off (they had already won two hundred guilders on the lottery in 1713) but in December 1722 they bought a ten-guilder lottery ticket that won the first prize of 75,000 guilders. The family's good fortune was offset with tragedy, however, with the loss of seven of their teen and early adult aged children by 1731.

In 1750 Ruysch's life was celebrated by the state with the collection " Dichtlovers voor de uitmuntende schilderessen Mejufvrouwe Rachel Ruisch " ("Poems for the excellent painter Mistress Rachel Ruysch"). It was an anthology, the first of its kind for a Dutch artist, that brought together verse by eleven contemporary poets who celebrated her life and works. Rachel Ruysch died later that year, she was 85 years old.

The Legacy of Rachel Ruysch

A portrait of Rachel Ruysch by eighteenth-century Dutch painter Aert Schouman. It was drawn in 1749, the year before she passed.

Ruysch established herself as the preeminent painter of flowers, capturing, and indeed immortalizing, the beauty of, what were to the new Dutch Republic, perishable luxury goods. Today art historians laud her as one of the most important still life painters - male or female - in the history of the genre. Although flower painting became unfashionable soon after her death, Ruysch's legacy was carried forward by Jan van Huysum, now regarded as the last of the great Dutch still life painters. Moreover, Ruysch takes her place in the pantheon as one of the few women of the Dutch Golden Age , placing her in the company of other accomplished women artists of the period, including Judith Leyster , Clara Peeters, and Maria van Oosterwyck.

Morgan writes, "Her paintings were more than just realistic and scientifically accurate depictions. Ruysch possessed excellent skill and technique [...] She used form, color and textures in ways that were innovative, bold, and dynamic". She adds that Ruysch's "open, diagonal compositions contrasted with the more compact and symmetrical arrangements than those of the other early 17 th century women painters". Her compositions were more asymmetrical "loose" and "spontaneous" than those of her peers but that this "informality was carefully designed to achieve the ultimate effect. The end result was that her works possessed more energy and created the illusion of immediate realism", so much so, that a viewer of her paintings "could almost reach out and touch her bouquets".

Influences and Connections

Dutch Golden Age

Useful Resources on Rachel Ruysch

  • Eighteenth Century Women Artists: Their Trials, Tribulations and Triumphs By Caroline Chapman
  • The Obstacle Race By Germaine Greer
  • Women Artists: 1550-1950 By Ann Sutherland Harris and Linda Nochlin
  • Women Artists By Susan Sterling Fisher
  • Women Artists By Margaret Barlow
  • Rachel Ruysch (Masterpieces) By Maria Tsaneva
  • Flowers and Nature: Netherlandish Flower Painting of Four Centuries By Sam Segal
  • Rachel Ruysch By Barbara Morgan / / June 11, 2018
  • Rachel Ruysch, Flowers, Still-Life By Lynn Robinson / Khan Academy
  • Rachel Ruysch's Exquisite Still Lifes Revolutionized the Form Our Pick By Alexxa Gotthardt / Artsy / May 21, 2020
  • [In]Visible: Paintings by Women Artists in the National Gallery, London: An Interview with Letizia Treves and Francesca Whitlum-Cooper Our Pick By Susanna Avery-Quash, Letizia Treves, and Francesca Whitlum-Cooper / Interdisciplinary Studies in The Long Nineteenth Century / 2019
  • Setting 'A Global Table' Seventeenth-Century Still Life, Colonia History, and Contemporary Art By Abigail Winograd / The Transhistorical Museum: Mapping the Field / 2018
  • Wives and Wantons: Versions of Womanhood in 17th Century Dutch Art By Simon Schama / The Oxford Art Journal / April 1980
  • Rachel Ruysch, Fruit and Insects Our Pick Smarthistory
  • Rachel Ruysch: Painter of the Court and Mother of 10 Our Pick National Gallery
  • Know the Artist: Rachel Ruysch Our Pick Several Circles Art History
  • ARTH 4117 Northern Baroque 3: Rachel Ruysch (Dutch) East Tennessee State University
  • Rachel Ruysch's Fruit and Insects with Dr. Saskia Beranek Our Pick Smarthistory
  • A Flower Painting, c.1680s, by Rachel Ruysch BBC Radio 4
  • Women in Art: Flowers in a Glass Vase by Rachel Ruysch Detroit Institute of Arts

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Edited and revised, with Summary and Accomplishments added by Antony Todd

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Sensitive to Art & its Discontents

Dual Portrait of Old Master Rachel Ruysch Holds a Trove of Secrets

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New York’s Metropolitan Museum of Art has acquired a rare dual portrait of Dutch Old Master Rachel Ruysch, a prolific painter best known for her still lifes of flower arrangements. Ruysch crafted her signature flora onto the canvas, and then portrait-painter Michiel van Musscher depicted the artist at work.

It’s The Met’s first painting by Ruysch (a work acquired in 1871 was later discovered to be a copy) and the museum’s first dual portrait. The work was formerly known to only a few scholars and research into the painting is just now beginning.

“I’m really excited to delve into some of the mysteries about it,” The Met’s Associate Curator of European Paintings Adam Eaker told Hyperallergic . “It shows us, I think, how innovative Ruysch was in crafting her public image early in her career: She’s been continuously famous since her own lifetime.”

Despite their floral subject matter, Ruysch’s paintings are moody and dark, evoking the somber palette of her contemporaries in the Dutch Golden Age. The works of those 17th-century artists constitute some of the world’s most famous paintings — an exhaustive Vermeer exhibition in Amsterdam is sold out and resale tickets are selling for hundreds and even thousands of dollars. But as in many aspects of the art world, the field was heavily male-dominated.

“Fortunately, she wasn’t forgotten or overlooked in the way that so many artists — particularly women artists — in the 17th century were,” Eaker said.

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Ruysch was born to famous anatomist and botanist Frederik Ruysch — who went on to sell his collection of work to Russia’s Peter the Great — and her paintings display a studied adherence to scientific accuracy and detail. The artist managed to craft a successful six-decade-long career and achieve widespread acclaim, becoming the first woman member of the artists society Confrerie Pictura and serving as a court painter to a German duke.

Eaker explained that the newly acquired portrait shows Ruysch “in the height of her powers,” after she had developed her own painting style and her own manner of arranging flowers.

Ruysch created one other known dual-portrait , over a decade later with her husband, fellow painter Juriaen Pool II. While this style of portrait is exceedingly rare, Eaker explained that paintings created by two artists were actually quite fashionable in the 17th century.

“It was a way for connoisseurs to exercise their skills and show off in front of their guests that they could identify these different hands — this kind of pictorial game,” said the curator.

Scholars are not entirely sure of the relationship between Michiel van Musscher and Ruysch, but van Musscher owned one of Ruysch’s paintings and the two artists were connected years later when Peter the Great visited Amsterdam. “They operated in overlapping circles,” said Eaker. “He definitely admired her work, but there’s still a lot to be discovered.” (Eaker also noted that the pair crafted this painting a year before Ruysch got married.)

The Met’s new acquisition is already helping scholars unlock secrets about Ruysch. Eaker pointed to the bottom of the canvas, where a drawing can be seen underneath the stack of books. Scholars have long debated the role of drawings in Ruysch’s practice and there are no existent sketches attributed to her, but this blue sheet of paper could help art historians determine what the painter’s drawings actually looked like.

In the painting’s foreground, lines scrawled in the open book describe van Musscher’s and Ruysch’s collaboration. “Behold how van Musscher made her brush shine when he painted her from life,” Eaker translated. The page is signed “De Vree,” a detail that points to a mysterious third collaborator.

In the bottom right, a butterfly hangs onto a light pink flower. Eaker said that late-17th-century artists attached real butterfly wings to their paintings, and that scientific examination found scales from the disintegrated creature on the canvas. “She really is thinking about how to combine art and science,” said Eaker.

“I couldn’t really believe my eyes,” Eaker said of the moment when he first saw the painting. He was at a diner on Madison Avenue and the dealer who sold the work pulled up an image on his laptop. “It’s truly a dream acquisition.”

The museum plans to install the work in its galleries over the summer.

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Elaine Velie

Elaine Velie is a writer from New Hampshire living in Brooklyn. She studied Art History and Russian at Middlebury College and is interested in art's role in history, culture, and politics. More by Elaine Velie

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  • About the ART TOURIST

by Terry Talty

You'll find here, under the heading of The Art Tourist, entries written by and for people who look at contemporary art. The pieces are verbal descriptions of experiences generated by looking at an exhibition or other display of stuff in the visual art context today, thus the use of the words contemporary (of our time) and art.

If you look at contemporary art, you know you may see drawing, painting, crafts, photos, video, stuff laying around, sounds, performances or simply idea. And you might be asked to do something with some stuff, or smell, or just hear. You probably have heard the current period called Post Modernism, Pluralism or described as "anything goes."

If you look at contemporary art, you may have had experience the Art Tourist describes. Sometimes you leave a museum or gallery and you can't stop talking about the stuff seen, or you need to come back again. Sometimes you feel confused and want someone to just give it up and explain what's going on, or you leave thinking precious time was wasted.

Understanding the experiences and thoughts of other humans joins us as a species and makes each one of us more than just the stuff inside a fleshy shell. Art can be a conductor, a facilitator, to this intra-species understanding. This blog attempts to crank up some energy about looking at art, and to reflect on how well art enterprises/institutions do the job of communicating to a regular viewer like us.

The art tourist entries are viewer-centric, a viewer who openly chooses to look, but who hasn't necessarily seen the bio-pic of the artist or mind melded with the curator. If art is made to communicate, then a regular viewer should be able to see an exhibition or a piece of art and get something from it. If it needs explanation, if we must know the title, if we need 3-D glasses, then somehow that art enterprise/institution should reveal what is needed, before they reveal when and where we can see it. 

The Art Tourist is not an investigative reporter who finds out why someone made the art, or how difficult the show was to transport or acquire, or assemble, or how much it means to the curator or cost an institution, or if anything is selling - unless that's part of the art and is presented to the ordinary viewer.  The aim is to expose a bit of what can be obtained from seeing the show.

Hopefully, these texts will add something of their own to our human experience, and you will talk about it for a minute, or two later.

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The Art Tourist YouTube Channel Analytics Report - PLAYBOARD


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Avg. video views, comment rate, latest videos, movie night with melancholia from lars von trier #movienight #larsvontrier #artlovers #arthistory, the art of hildegard von bingen #arthistory #hildegardvonbingen #medieval #medievalart #artlovers, butt music #hieronymusbosch #arthistory #artlovers #weirdart #museum #artist #art, what’s your new year’s art resolution #arthistory #botticelli #artlovers #museum #art #history, puzzled over florine stettheimer #arthistory #artlovers #museum #artist #womenartist #art, description.

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About Author

Rachel is a New York City-based writer and editor with bylines in Architectural Digest, Canvas Magazine, Artsy, Artnet News, Atlas Obscura, and more. Before joining the digital lifestyle publication The Select 7 as Executive Editor, Rachel was the Executive Editor at Unearth Women , a pioneering travel magazine dedicated to the narratives of revolutionary ladies around the world.   Formerly Art & Design Editor at Culture Trip, Rachel was an original member of the core editorial team that established the publication's voice. She maintains a keen fascination with visual art as the writer and host of Several Circles , a video series spotlighting the stories of extraordinary artists from across history and the present day.

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Disappointed Tourist Ellen Harvey

London, England, UK

Demolished 1994

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House was a temporary sculpture made by British artist Rachel Whiteread. With the support of the arts organization Artangel, she cast the inside of a to-be-demolished house in concrete and then removed the exterior bricks to reveal the interior. The house was one of a group of council homes that had been slated for demolition and had recently been vacated by Mr. Sidney Gale who had lost his fight against his eviction. The work was both celebrated and controversial and the local council voted to demolish the work on the day that Whiteread won the Turner Prize. House was demolished after standing for only 80 days, ten days fewer than originally agreed upon. This painting is based on a photograph taken by Sue Omerod.

I went to see it at the end of the most miserable year of my life. The past year has been a walk in the park in comparison. It was around Christmas. My sister lived in London and it was thrilling to go to London. I like art and my father’s a builder, so I appreciated “House” on several levels. I wanted to see it. It was light when I got there, and I had a good look at it. I had travelled from Coventry, so I’d made too much of an effort to leave after ten minutes. The others there left when dusk came. The back of the premises is a series of extensions so, in effect, there were three roofs. I could have climbed to the top, but the second level was fine. I sat there, resting against the wall of the top storey bedroom, and thought about the past year and my immediate prospects. I remember struggling to think of five good things from 1994 and being aware that this wasn’t impressive. I had made it memorable. I was upset when it was demolished but I consoled myself with the idea that it is impossible to destroy the space that had been enclosed within. That would remain there forever. Robin C.

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This Week on Curious Objects

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Host Benjamin Miller digs into the history of Beauport, the Gilded-Age mansion perched on a rock ledge overlooking Massachusetts’s Gloucester Harbor. Learn more.

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the art tourist rachel

Thomas Commeraw: Free Black Potter in 1800s New York

For nearly two hundred years, from his death in 1823, New York potter Thomas Commeraw was out of sight. In the digital age it finally became possible to positively identify him: as a prosperous free Black craftsman with a manufactory in Corlears Hook.

the art tourist rachel

This Chair is Made of America

Ben speaks with Ellery Foutch, assistant professor of American studies at Middlebury College, about a “relic Windsor chair” assembled by Henry Sheldon (founder of the Middlebury museum named in his honor) in 1884.

the art tourist rachel

How to Make a Modern Home (with Antiques), featuring Thomas Jayne

In this episode, Ben Miller gets the goods from Thomas Jayne on the history of interiors (from the Greeks to the present day); what to budget first; and the spirit of “democratic decoration,” that, historically, has animated American interiors.

the art tourist rachel

Blended Spirits: A Curious Objects Cocktail Hour at the Winter Show

A cocktail hour Zoom chat about alcohol-friendly antiques at the this year’s (virtual) edition of the Winter Show, the year’s premier antiques fair. You’ll hear about wacky objects and the wild stories behind them from some of the show’s most irreverent dealers.

the art tourist rachel

Five Hundred Years of American Craft, with Glenn Adamson

Glenn Adamson makes his second appearance on Curious Objects to discuss his new book, Craft: An American History. As his research shows, artisans from Paul Revere and Betsy Ross to Patrocino Barela and George Barris played a crucial and under-examined role in the formation of the United States’ national character.

the art tourist rachel

A Dalva Brothers Wonder Cabinet Turns Heads at Christie’s

Dalva Brothers, Inc., specializes in the sort of lux 1700s French furniture that just screams ancien régime. Some 250 of the choicest items from the firm’s inventory are being offered at Christie’s this October, and David Dalva III, along with Jody Wilkie, talk with Ben about the crème de la crème

the art tourist rachel

The Mystery of the Michelangelo Bust

This month, Ben and Michael speak with Jennifer Tonkovich, curator of prints and drawings at the Morgan Library and Museum. The focus is an odd bronze bust of a crying child—once believed to have been sculpted by Michelangelo.

the art tourist rachel

Thirty-five Saxon Suits of Armor, with Chassica Kirchhoff

It's kinetic sculpture, it's haute couture, it’s . . . armor! This month, Ben speaks with Chassica Kirchhoff, an assistant curator at the Detroit Institute of Arts, about a suite of metal suits from the 1500s that were worn and jousted in by the dukes of Saxony.

Big porcelain and outsider art at Christie’s

“Where the Past Never Gets Old”—Re-presenting History at Colonial Williamsburg

Surrendering the Colors–An American Flag Collection Goes to Auction

Badger Up! Collecting Baseball-abilia with Internet Star Randall

Getting Wired at the Peabody Essex Museum

Another Man’s Treasure–Frank Levy discusses a Suite of Tapestry-Upholstered Furniture

The Color of Beauty–Philip Hewat-Jaboor’s Neoclassical Vase

Is it real? A Caravaggio Rediscovered

Object Philosophy 101

The Soldier, the Dandy, and the Queen

Noah Wunsch Was Born to Collect

Let the Market Decide–Economist Friedrich Hayek’s Assets Head to Auction

Introducing the New Antiquarians

Glass Act—John Stuart Gordon and the Vitreous Curiosities of Yale

Reading Congress the Riot Act—Henry Highland Garnet’s “Memorial Discourse”

The House that Vanderbilt—Gilded Age Mansions of Newport, RI


Kevin Brown and His Qing-era Map of China

David Webb archivist Levi Higgs and the company’s storied Zebra bracelet

ADA executive director Judy Loto and Her Entrancingly Engraved Powder Horn

A conversation with luthier Paul Becker

Treasures of the Winter Antiques Show, Part 2

Treasures of the Winter Antiques Show, Part 1

Wade Lege on Mistakes Collectors or Restorers Make

Secret History of a Windsor Chair

Wartski expert Katherine Purcell on René Lalique and Poetry in Jewelry Stuart Feld on how the antiques world has changed with the advent of the internet


Since 1922, The Magazine ANTIQUES has been the leader in fine and decorative arts scholarship. We’re certain that you’ll enjoy this twenty-first century means of telling stories about the things we collect and cherish.

A new episode of Curious Objects  is available each month on iTunes , Spotify , SoundCloud , and other podcast platforms. We hope you will  share your feedback as we continue development in 2022.

Questions? Comments? Have a Curious Object? Email us .


We hope you'll share your feedback by completing a short survey as we continue development in 2023.


Benjamin Miller, Host

Ben has been director of research at S. J. Shrubsole since 2016, and is one of the rising stars of the New York art and antiques scene. After leaving his native Tennessee, Ben earned his bachelor's degree at Yale. He is a specialist in antique silver, estate jewelry, and anything old with a good story. Together with Soane Foundation executive director Michael Diaz-Griffith he is the co-founder of the New Antiquarians, a community of interest for the next generation of art and antiques enthusiasts. Check out his Instagram, @objectiveinterest , for more context surrounding the objects on each month's episode of Curious Objects .

Winter is here! Check out the winter wonderlands at these 5 amazing winter destinations in Montana

  • Travel Guide

Kicking The Cubicle: Rachel Reinert, Artist

Published: November 18, 2023

Modified: December 28, 2023

by Hannie Stover

  • Plan Your Trip



Are you tired of the monotonous routine of office life? Do you yearn for adventure and the freedom to pursue your passions? If you’ve ever fantasized about breaking free from the cubicle and embracing a life of excitement, then you’re in for a treat. In this article, we’ll introduce you to Rachel Reinert, an extraordinary artist who not only kicked the cubicle but soared to great heights in the world of art.

Rachel Reinert is living proof that one can break free from the conventional chains of office life and carve out a fulfilling career as an artist. Her story is one of perseverance, talent, and a deep love for creativity. Through her unique artistic style and dedication to her craft, Rachel has captured the attention of art enthusiasts worldwide and has become a symbol of inspiration for those seeking a life filled with artistic expression.

Join us as we delve into Rachel’s early life, her formative years in art, and her journey towards a career breakthrough. We’ll explore her artistic style, the influences that have shaped her work, and the impactful artworks that have garnered her recognition in the art world. Additionally, we’ll gain insights into Rachel’s personal life and her philanthropic endeavors, showcasing her commitment to making a positive impact both within and outside the art community.

If you’re ready to embark on a mesmerizing adventure filled with color, passion, and boundless creativity, then fasten your seatbelts and prepare to be inspired by Rachel Reinert, the artist who dared to kick the cubicle and embrace a life of artistic exploration.

Early Life and Background

Rachel Reinert was born and raised in a small town, nestled amidst picturesque landscapes that ignited her imagination from an early age. Growing up surrounded by nature’s beauty, Rachel was drawn to the vibrant colors, textures, and patterns that adorned the world around her. It was through these observations that her artistic journey began to take shape.

As a child, Rachel was always captivated by the arts. She would spend hours sketching in her notebook, experimenting with different mediums, and creating her own imaginative worlds. Recognizing her talent and passion, her parents supported her artistic pursuits, enrolling her in art classes and providing her with the tools she needed to nurture her creativity.

While Rachel’s love for art continued to flourish, she also excelled in academia. She embraced education with equal fervor, earning top grades and immersing herself in various subjects. However, it was her undeniable connection with the visual arts that ultimately steered her towards a path dedicated to artistic expression.

After completing high school, Rachel made the bold decision to pursue a degree in Fine Arts at a prestigious university. It was during this time that she truly discovered herself as an artist. Surrounded by like-minded individuals and guided by experienced mentors, Rachel honed her skills and refined her unique artistic voice.

Inspired by a wide range of artistic movements and styles, Rachel explored diverse techniques and mediums, pushing the boundaries of her creativity. Her artwork began to manifest as a reflection of her evolving personality, blending elements of realism, abstract expressionism, and surrealism. This fusion of styles allowed Rachel to forge her own distinct artistic identity.

Beyond the confines of her university studies, Rachel sought inspiration from travel and the exploration of different cultures. She embarked on solo adventures, immersing herself in the sights, sounds, and stories of various destinations. These experiences not only enriched her understanding of the world but also infused her artwork with a sense of wanderlust and a profound appreciation for the beauty that exists beyond her hometown.

With a solid foundation in both technical skills and a deep understanding of artistic concepts, Rachel was ready to embark on her artistic journey and make a mark in the world of art. Little did she know that her bold decision to pursue a life of creativity would lead her down a path paved with success, admiration, and the fulfillment of her dreams.

Formative Years in Art

During the formative years of her artistic career, Rachel Reinert embraced every opportunity to expand her skill set, explore new techniques, and refine her artistic vision. This period of growth and experimentation was crucial in shaping her unique style and establishing her presence in the art world.

After completing her degree in Fine Arts, Rachel gained invaluable experience by working under established artists and participating in art residencies and workshops. These immersive experiences allowed her to learn from seasoned professionals, exposing her to different perspectives and approaches to art.

One significant influence on Rachel’s growth as an artist was her mentor, a renowned painter known for blending traditional techniques with contemporary concepts. Under his guidance, Rachel honed her technical skills and learned to push the boundaries of traditional art forms. This mentorship inspired her to break free from the constraints of conventional techniques and embrace a more experimental approach to her artwork.

Experimental techniques became a hallmark of Rachel’s work during this period. She delved into mixed media, combining elements such as acrylics, oils, collage, and found objects to create captivating textures and layers in her paintings. This innovative approach allowed her to convey a depth of emotion and complexity in her art that captivated viewers and set her apart from her contemporaries.

In addition to exploring different mediums, Rachel also drew inspiration from her surroundings. She spent countless hours studying the interplay of light and shadows, capturing the intricacies of nature and the human form with meticulous attention to detail. Her dedication to observation and her ability to translate these observations onto the canvas earned her accolades and recognition among art enthusiasts and critics alike.

During this time, Rachel also began to explore themes that held personal significance to her. She expressed her fascination with the human psyche, utilizing symbolism and metaphor to convey emotions and explore the complexities of the human experience. Her thought-provoking compositions unveiled layers of meaning, inviting viewers to engage with her artwork on a deeper level.

As Rachel continued to evolve as an artist, she gained a reputation for her bold use of color, employing vibrant hues and juxtaposing complementary tones to create visually striking compositions. Her ability to harness the power of color allowed her to elicit powerful emotional responses from viewers, further cementing her status as a rising star in the art community.

With each brushstroke, Rachel Reinert carved her unique artistic path, creating a body of work that showcased her technical prowess, emotional depth, and unwavering commitment to artistic exploration. As she transitioned from her formative years to a career breakthrough, Rachel’s relentless dedication and artistic vision would propel her towards even greater heights in the art world.

Career Breakthrough

Rachel Reinert’s artistic journey reached a pivotal turning point when she experienced a career breakthrough that propelled her into the spotlight of the art world. Her relentless dedication, artistic vision, and undeniable talent converged to create an undeniable impact that would set the stage for her future success.

It was during a local art exhibition that Rachel’s work caught the attention of a renowned art curator who was captivated by the depth and uniqueness of her art. Recognizing her potential, the curator invited Rachel to showcase her artwork in a prestigious gallery, providing her with an opportunity to reach a wider audience and make a name for herself on a grander scale.

The exhibition was a resounding success, with art enthusiasts and collectors flocking to witness Rachel’s captivating creations. Her artwork spoke to viewers on a profound level, evoking a range of emotions and leaving an indelible impression. Critics hailed her as a rising star in the art world, commending her bold experimentation, mastery of technique, and the depth of her artistic expression.

This breakthrough not only brought Rachel widespread recognition but also opened doors to new opportunities. She began to receive invitations to participate in prestigious art fairs and international exhibitions. Her artwork started to adorn the walls of renowned galleries and private collections around the globe, solidifying her status as an artist to watch.

As her recognition grew, Rachel continued to push the boundaries of her creativity. She embarked on ambitious projects that challenged conventional notions of art and pushed the limits of her own capabilities. Through multimedia installations, large-scale murals, and collaborative ventures, she expanded the possibilities of her artistic expression and left an indelible mark on the art world.

Rachel’s career breakthrough was not simply defined by accolades and commercial success. She also used her newfound platform to advocate for important social and environmental causes close to her heart. Through her art, she raised awareness about conservation, human rights, and mental health, using her voice as an artist to inspire meaningful change.

One of her most impactful projects involved collaborating with local communities to transform abandoned buildings into vibrant art spaces that revitalized neglected neighborhoods. This transformative initiative not only brought art to the forefront but also sparked a sense of community pride and unity.

Rachel’s career breakthrough not only affirmed her place in the art world but also solidified her commitment to using art as a means to make a positive impact. Her unwavering dedication to her craft, coupled with her passion for social issues, cemented her status as an artist who not only creates visually captivating works but also prompts introspection and drives conversations.

With her career breakthrough, Rachel Reinert became a shining example of what can be achieved through perseverance, artistic exploration, and a steadfast belief in one’s abilities. Her breakthrough served as a springboard for even greater artistic endeavors and established her as a force to be reckoned with in the art world.

Artistic Style and Techniques

Rachel Reinert’s artistic style is a convergence of various influences, resulting in a captivating and distinct aesthetic. Her unique approach to art combines elements of realism, abstract expressionism, and surrealism to create visually stunning and emotionally evocative pieces.

One of the defining features of Rachel’s artistic style is her impeccable attention to detail. Inspired by the natural world and the human form, she meticulously captures the intricacies of light, shadow, and texture. This meticulous approach brings her subjects to life, creating a sense of realism that immerses viewers in her artwork.

While grounded in realism, Rachel ventures beyond the confines of traditional representation, infusing her artwork with elements of abstraction. She uses bold brushstrokes, vibrant colors, and unconventional compositions to create a sense of movement and energy in her pieces. This combination of realism and abstraction creates a dynamic visual experience that draws viewers into her world.

In addition to her mastery of technique, Rachel experiments with various mediums and textures to add depth and complexity to her work. She employs mixed media techniques, incorporating acrylics, oils, collage, and found objects to create layers of visual and tactile interest. This experimentation with materials allows her to create richly textured surfaces that invite viewers to engage with her artwork on multiple sensory levels.

Symbolism and metaphor play a significant role in Rachel’s artwork, allowing her to explore and convey complex emotions and concepts. Through carefully selected imagery and thought-provoking compositions, she invites viewers to interpret and engage with her pieces on a deeper level. Her artwork becomes a visual language that sparks introspection and invites contemplation.

As Rachel continues to evolve as an artist, she embraces a mindset of constant exploration and growth. She remains open to new techniques, materials, and influences, embracing experimentation and embracing the unexpected. This willingness to push boundaries and challenge herself allows her artwork to constantly evolve, ensuring that each piece she creates is a unique expression of her creative journey.

It is Rachel Reinert’s ability to seamlessly merge different artistic styles, techniques, and concepts that sets her apart. Her art speaks to the complexity of the human experience, the beauty of the natural world, and the power of artistic expression. Her distinctive style and technical mastery have captivated viewers and established her as a trailblazer in the art world.

Inspirations and Influences

Rachel Reinert’s artistic journey has been shaped by a wide array of inspirations and influences that have contributed to the unique beauty and depth of her artwork. From the natural world to celebrated artists of the past, Rachel’s work demonstrates her ability to draw upon diverse sources and reinterpret them through her own artistic lens.

One of Rachel’s most prominent sources of inspiration is the natural world. The breathtaking landscapes, delicate flora, and intricate patterns found in nature have ignited her imagination since childhood. She spends time immersed in nature, observing the interplay of light, texture, and color. Her artwork reflects this deep connection, evoking the beauty and serenity of the natural environment.

Additionally, Rachel finds inspiration in the human experience. Through introspection and empathy, she explores the depths of human emotions, complexities, and relationships. This exploration gives her artwork a sense of universality and invites viewers to connect with the broader aspects of the human condition.

Art history also plays a significant role in shaping Rachel’s artistic voice. She has studied and drawn inspiration from influential artists of the past. The works of master painters such as Georgia O’Keeffe, Frida Kahlo, and Vincent van Gogh have left an indelible mark on her artistic perspective. Rachel analyzes their techniques and concepts, integrating aspects of their styles into her own artwork while adding her unique interpretation.

Contemporary artists have also influenced Rachel’s artistic journey. She actively engages with the works of her peers, attending exhibitions and participating in collaborative projects. This exposure to a diverse range of artistic voices keeps her engaged and fosters a sense of community within the art world.

Travel is another wellspring of inspiration for Rachel. Exploring different cultures, landscapes, and artistic traditions expands her artistic horizons and challenges her to see the world through new perspectives. The colors and textures she encounters during her journeys often find their way into her artwork, creating a fusion of global influences.

Music, literature, and poetry are additional sources of inspiration for Rachel. The emotions, narratives, and rhythms found in these art forms resonate with her artistic sensibility. They infuse her artwork with lyrical qualities, inviting viewers to appreciate the interconnectedness of various art forms.

Through a convergence of these diverse influences, Rachel Reinert creates artwork that is both visually striking and emotionally resonant. Her ability to synthesize inspiration from nature, art history, contemporary artists, travel, and various art forms allows her to create a body of work that beautifully captures the essence of the human experience.

Notable Artworks and Exhibitions

Rachel Reinert has showcased her extraordinary talent and artistic vision through a series of notable artworks and exhibitions that have captivated audiences and garnered critical acclaim. Her innovative approach, technical mastery, and thought-provoking themes have positioned her as a prominent figure in the art world.

One of Rachel’s most celebrated series is “Ephemeral Beauty,” a collection of paintings that explores the transience of life and the fleeting moments of beauty that surround us. With meticulous attention to detail and a vibrant color palette, Rachel captures delicate flowers in various stages of bloom and decay. Each artwork in this series invites viewers to contemplate the beauty and impermanence of existence.

In her series “Expressions of the Soul,” Rachel delves into the intricacies of the human psyche. Through expressive and emotive portraiture, she captures the raw emotions that lie beneath the surface. Each painting resonates with authenticity, inviting viewers to connect with and reflect on their own inner worlds.

Another notable artwork by Rachel is “Dreamscapes,” a collection that blurs the boundaries between reality and fantasy. With dreamlike imagery and surreal compositions, she invites viewers on a journey into realms of imagination. This series encourages contemplation and exploration of the subconscious mind.

Rachel’s innovative use of mixed media is showcased in her artwork “Urban Symphony.” This large-scale installation incorporates repurposed urban materials, such as discarded objects and fragments, and transforms them into a harmonious arrangement. “Urban Symphony” serves as a powerful statement on sustainability, repurposing, and the beauty that can arise from unexpected sources.

Throughout her career, Rachel has exhibited her artwork in renowned galleries, museums, and art fairs around the world. Her solo exhibitions have been met with critical acclaim, with viewers and critics alike lauding her technical skill, emotional depth, and innovative concepts. Her artworks have also been featured in significant group exhibitions, allowing her to engage in meaningful artistic dialogue with fellow artists.

In addition to traditional gallery exhibitions, Rachel has also embraced digital platforms to showcase her work. Her online exhibitions and virtual galleries have expanded her reach, allowing art enthusiasts from all corners of the globe to experience her artwork firsthand.

Collectors and art enthusiasts have been quick to acquire Rachel’s artwork, and her pieces can now be found in prestigious private collections. Her work continues to inspire and provoke conversations, and she is often invited to share her artistic process and insights through artist talks, panel discussions, and workshops.

With each notable artwork and exhibition, Rachel Reinert solidifies her position as a respected and influential artist. Her commitment to pushing artistic boundaries, exploring diverse themes, and engaging with viewers on a deeper level demonstrates her artistic prowess and ensures her place in the annals of contemporary art.

Impact and Recognition in the Art World

Rachel Reinert’s impact and recognition in the art world are undeniable, with her artwork resonating deeply with viewers and drawing the attention of art enthusiasts, collectors, and critics alike. Through her unique artistic voice, she has made a lasting impression and left an indelible mark on the contemporary art scene.

One of Rachel’s most significant contributions has been her ability to bridge the gap between traditional and contemporary art styles. Her innovative approach, combining elements of realism, abstraction, and surrealism, challenges conventional notions of artistic expression and invites viewers to experience art in new and dynamic ways.

Through her thought-provoking themes and emotionally charged compositions, Rachel has sparked conversations and introspection. Her artworks evoke a range of emotions, from introspection to wonder, inviting viewers to contemplate deep-seated emotions, societal issues, and the interconnectedness of the human experience.

Rachel’s distinctive style has gained recognition and applause from both critics and collectors, leading to numerous accolades and awards. Her artworks have been featured in prestigious art publications and have garnered critical acclaim for their technical prowess, emotional depth, and visual impact.

With her commitment to utilizing art as a means of social advocacy, Rachel has also made a significant impact beyond the confines of the art world. Her artwork has contributed to raising awareness about environmental conservation, mental health, and social justice issues. Through her artistic voice, she has become a champion for positive change and has inspired others to contribute to a more compassionate and equitable society.

Recognition for Rachel’s artistic brilliance has extended to the international art community. Her works have been showcased in renowned galleries, museums, and art fairs across the globe, allowing a wide audience to experience the power and beauty of her creations. She has participated in solo and group exhibitions alongside established artists, further solidifying her place among the art world’s elite.

The recognition and impact of Rachel’s artistry extend beyond physical exhibitions. Her digital presence and engagement with online platforms have enabled her to reach a broader audience, establishing a global following of art enthusiasts and collectors who eagerly anticipate her latest creations. Her online exhibitions, virtual galleries, and social media presence have facilitated an intimate connection with her supporters, fostering a sense of community and shared artistic appreciation.

As Rachel Reinert continues to push boundaries and explore new artistic frontiers, her impact and recognition in the art world are poised to grow even further. Her ability to combine technical prowess with emotional depth, social advocacy, and aesthetic beauty will undoubtedly solidify her legacy as a profound and influential artist.

Personal Life and Philanthropy

Beyond her artistic endeavors, Rachel Reinert leads a rich and fulfilling personal life, driven by a passion for making a positive impact on the world around her. Her commitment to philanthropy and using her artistic platform for good truly sets her apart as an artist with a purpose.

Despite her success, Rachel remains grounded and genuinely connected to her roots. She draws inspiration from her upbringing and finds solace in spending time with her family and friends. Their unwavering support and encouragement have been instrumental in her artistic journey, allowing her to pursue her passion with unwavering determination.

Driven by a strong sense of social responsibility, Rachel actively engages in philanthropic initiatives that align with her values and belief system. She collaborates with charitable organizations focused on environmental conservation, art education for underprivileged communities, and mental health advocacy.

As an advocate for environmental sustainability, Rachel uses her artwork to raise awareness about pressing ecological issues such as deforestation, climate change, and wildlife conservation. She actively supports organizations dedicated to preserving biodiversity, protecting endangered species, and promoting sustainable practices.

Recognizing the transformative power of art, Rachel believes in the importance of fostering artistic expression in underprivileged communities. She donates her time and resources to art education programs that provide platforms for marginalized individuals to explore their creativity and reclaim their voices through artistic mediums.

Rachel is also a passionate advocate for mental health awareness and destigmatization. She uses her personal experiences and her art to shed light on the realities of mental health challenges, encouraging open conversations and promoting compassion and understanding.

In addition to her philanthropic efforts, Rachel is actively involved in mentoring aspiring young artists, sharing her knowledge and experiences to inspire the next generation of creative minds. She conducts workshops and masterclasses, empowering emerging artists to find their unique artistic voice and pursue their dreams.

Rachel’s commitment to philanthropy is not just a fleeting endeavor. It is interwoven into the fabric of her artistic career, as she continually seeks opportunities to leverage her platform and contribute to causes she passionately believes in.

With her talent, generosity, and dedication to making a difference, Rachel Reinert exemplifies the power of art to inspire change and create a better world. Her personal life and philanthropic efforts serve as a testament to her character and the depth of her commitment to using her artistic voice to make a positive impact far beyond the canvas.

Rachel Reinert’s journey as an artist is a testament to the power of passion, perseverance, and the limitless potential of artistic exploration. From her early years immersed in the beauty of nature to her formative experiences in art school, Rachel’s unwavering dedication to her craft has propelled her towards a career breakthrough and international recognition. Her artistic style, influenced by a fusion of realism, abstraction, and surrealism, captivates viewers with its meticulous attention to detail, vibrant use of color, and thought-provoking compositions.

Through her notable artworks and exhibitions, Rachel has left an indelible mark on the art world. She has elevated the conversation around art, exploring themes ranging from the impermanence of life to the complexities of the human psyche. Rachel’s ability to infuse her creations with meaning and emotion has resonated deeply with audiences, earning her critical acclaim and the admiration of art enthusiasts.

While Rachel’s artistic accomplishments are significant, her impact extends beyond the canvas. She has recognized the importance of using her artistic platform to make a positive difference in the world. Through her philanthropic efforts, she advocates for environmental sustainability, art education initiatives for underprivileged communities, and mental health awareness. Rachel’s commitment to social responsibility showcases the depth of her character and elevates her artistry to a higher purpose.

As Rachel Reinert continues to evolve as an artist, her creative journey will undoubtedly inspire and captivate audiences for years to come. Her ability to push the boundaries of artistic expression, her unwavering dedication to social advocacy, and her commitment to fostering meaningful connections within the art community set her apart as an artist who truly shapes and influences the world around her.

So, whether you’re a fellow artist seeking inspiration, an art enthusiast yearning for captivating and emotive artwork, or someone looking for a source of motivation to chase your own dreams, Rachel Reinert’s story serves as a reminder that it is possible to break free from the constraints of convention and pave your own path towards greatness. Through her art, she encourages us all to embrace creativity, challenge boundaries, and make a positive impact in our own unique ways.


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the art tourist rachel

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Baltimore native Mateen Milan is a performer, teacher and advocate of music that uses the bassoon as a tool for impactful, thoughtful and inspiring musical experiences. Mateen serves as an orchestral, chamber and solo musician throughout Maryland and beyond while serving as a teaching artist for institutions such as the Peabody Preparatory, Baltimore Symphony Orchkids Program and Yale Music in Schools Initiative. Mateen sees music education as a vital tool in developing youth and communities and seeks to create equitable learning environments for students to flourish in.

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Jill Orlov / 2023 Travel Prize Winner

We are proud to announce metal miniaturist Jill Orlov as the recipient of the 2023 MASB Artist Travel Prize. Originally trained as an architect, Orlov’s design process always began with tiny concept models. Now, she uses those same skills — in addition to extensive research of classic and iconic spaces — to build miniature vignettes in metal and found objects.

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Janet & Walter Sondheim Art Prize Winner: Abigail Lucien

Abigail Lucien is a Haitian American interdisciplinary artist. Working in sculpture, literature, and time-based media, Lucien’s practice addresses themes of (be)longing, futurity, myth, and place by considering our relationship to inherited colonial structures and systems of belief/care.

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Baltimore Farmers’ Market to return April 7

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The Baltimore Office of Promotion & The Arts (BOPA) announced that The Baltimore Farmers’ Market will return for its 47th season on April 7. It will be open every Sunday through Dec. 22, rain or shine, under the Jones Falls Expressway (JFX) at Holliday and Saratoga streets. There will be new farms, food vendors, and artisans participating this year

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Today’s Changing Room Book Review

Why a book about sea swimming? Reviewing a year round of photographs.

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Condé Nast Traveller

A personal tale of creative travel through books, in this magazine of dream escapes.

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How to: Make a Star Map

An origami pocket project full of star light.

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The Astronomers’ Library: Book Review

A constellation of treasures in one volume.

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Sharing Peace Through Pastel

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23 years ago my creative journey led me to the lightfast rich medium of pastel and it's been love ever since.


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Highland Cow with gold leafing

the art tourist rachel

Luna + Florals

the art tourist rachel

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  • Mark Wahlberg’s Clothing Line Just Opened Its First Store in L.A.

The 1,100-square-foot boutique is located on Melrose Avenue in West Hollywood.

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Mark Wahlberg and the Municipal team at the new L.A. store

Municipal has landed in the Los Angeles municipal.

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Mark Wahlberg inside the new Municipal store

Located on buzzy Melrose Avenue, the new location spans 1,100 square feet and is stocked with “Sport Utility Gear,” or what the label describes as “the most comfortable, stylish, and versatile clothing.” The athleticwear is designed for all types of occasions, from stints in the office to sessions at the gym. The pieces range from T-shirts and sweatshirts to outerwear and sneakers, with prices ranging from $30 to $180.

The exterior of the new Municipal store in L.A.

The label is set to open a showroom in Carlsbad, California, this August. The 6,000-square-foot space will feature a coffee shop, a barber shop, and a community lounge for locals. It also plans to open 10 more shops over the next two to three years. The larger outposts will be in key locations such as Las Vegas, Phoenix, Atlanta, Boston, and New York.

Rachel Cormack is a digital editor at Robb Report. She cut her teeth writing for HuffPost, Concrete Playground, and several other online publications in Australia, before moving to New York at the…

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Hundreds of Florida arts groups scramble for funding after DeSantis vetoes grants

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There is no more state funding for the arts in Florida after Governor Ron DeSantis cut 32 million from the state budget. Now arts organizations are scrambling to make ends meet.

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  1. The art tourist

    the art tourist rachel

  2. Bazaar Art and Paddle8 present online auction of original artworks

    the art tourist rachel

  3. Meet Rachel Jones, an Ascendant Painter Whose Jitteringly Electric

    the art tourist rachel

  4. Tourist Season (2000)

    the art tourist rachel

  5. ‘A Tourist’s Guide To Love’ Review: Rachael Leigh Cook Gets a Heart

    the art tourist rachel

  6. Talking to Cornish artist Rachel Painter

    the art tourist rachel


  1. The Art Tourist

    Welcome to The Art Tourist, where art meets travel. To us, art is an experience, best accompanied by good food and drink, local shopping, and plenty of sightseeing. Wherever we go, we tell the ...

  2. Rachel Gould (@thearttouristchannel) • Instagram photos and videos

    8,019 Followers, 146 Following, 147 Posts - Rachel Gould (@thearttouristchannel) on Instagram: "鹿 nostalgic musings ️celebrating aesthetic histories 諸hudson valley | nyc"

  3. Rachel Ruysch: Painter of the court and mother of 10

    Hugely successful, Rachel Ruysch's paintings often sold for more in her lifetime than Rembrandt's did in his. Nina Cahill, our McCrindle Curatorial Fellow of...

  4. Rachel Gould

    Thankful to all the Arts&Crafts foremothers. 7w 1 like Reply. View replies (1) objectiveinterest. Discovered her in Edinburgh last year, immediately fell in love! 7w 2 likes Reply. View replies (1) April 10. Log in to like or comment. More posts from thearttouristchannel. See more posts. Meta. About. Blog.

  5. Rachel Ruysch (1664-1750)

    Famous both at home and abroad. Rachel Ruysch was one of the most successful Dutch still life painters of the 17th and 18th centuries. Her refined paintings with colourful, lifelike flowers were among the best of the kind at the time. Ruysch was a court painter for a German prince and the first woman to be a member of the artists' society ...

  6. Rachel Ruysch (1664-1750)

    Title: Rachel Ruysch (1664-1750) Artist: Rachel Ruysch (Dutch, The Hague 1664-1750 Amsterdam) Artist: and Michiel van Musscher (Dutch, Rotterdam 1645-1705 Amsterdam) Date: 1692. Medium: Oil on canvas. Dimensions: 30 × 25 in. (76.2 × 63.5 cm) Classification: Paintings. Credit Line: Purchase, Adele Veronica Satkus Bequest, Walter and ...

  7. Rachel Ruysch Paintings, Bio, Ideas

    Rachel Ruysch had a unique upbringing which saw her raised in an environment of art and science. One of twelve siblings, she was born to Frederik Ruysch, an eccentric anatomist and botanist, and Maria Post, whose father (Rachel's grandfather) was the renowned imperial architect Pieter Post, and whose brother (Rachel's great uncle) was the ...

  8. Rachel Gould on Instagram: "#arthistory #historyofart #artreels #

    The Art Tourist abroad. 11w 1 like Reply. View replies (1) coopercalvo. I'm looking forward to the next video. I know very little about Tulum and its ruins. Great hat. 11w 1 like Reply. View replies (1) March 18. Log in to like or comment. More posts from thearttouristchannel. See more posts. Meta. About. Blog.

  9. Rachel Ruysch

    Rachel Ruysch (baptized June 3, 1664, Amsterdam, Neth.—died Aug. 12, 1750, Amsterdam) was a Dutch painter who specialized in richly detailed still-life paintings that commanded high prices.. Ruysch's maternal grandfather was the architect Pieter Post.Her father, a professor of anatomy and botany and an amateur painter, probably introduced her to the study of exotic flowers.

  10. Dual Portrait of Old Master Rachel Ruysch Holds a Trove of Secrets

    Rachel Ruysch and Michiel van Musscher, "Rachel Ruysch" (1692), oil on canvas, 30 x 25 inches (image courtesy the Metropolitan Museum of Art) New York's Metropolitan Museum of Art has ...

  11. About the ART TOURIST

    The art tourist entries are viewer-centric, a viewer who openly chooses to look, but who hasn't necessarily seen the bio-pic of the artist or mind melded with the curator. If art is made to communicate, then a regular viewer should be able to see an exhibition or a piece of art and get something from it. If it needs explanation, if we must know ...

  12. The Art Tourist YouTube Channel Analytics Report

    Welcome to The Art Tourist, where art meets travel. To us, art is an experience, best accompanied by good food and drink, local shopping, and plenty of sightseeing. Wherever we go, we tell the stories of extraordinary artworks and the visionaries who made them. ... Each episode is written and hosted by Rachel, a copywriter at The Met, and ...

  13. I AM ART/Rachel & Friends

    I AM ART/Rachel & Friends, Ormond-by-the-Sea, Florida. 323 likes. Featuring: -Paintings & jewelry by experimental mixed media artist Rachel Lynn Thompson. -Jewelry,

  14. Rachel Gould

    Rachel is a New York City-based writer and editor with bylines in Architectural Digest, Canvas Magazine, Artsy, Artnet News, Atlas Obscura, and more. Before joining the digital lifestyle publication The Select 7 as Executive Editor, Rachel was the Executive Editor at Unearth Women, a pioneering travel magazine dedicated to the narratives of ...

  15. Curious Objects: Why Thomas Cole's "Course of Empire" Cycle is as

    All objects illustrated are in the New-York Historical Society, New York, gifts of the New-York Gallery of the Fine Arts. This week Benjamin Miller is joined on our Curious Objects podcast by filmmaker Rachel Gould, better known on YouTube as the Art Tourist, to discuss Thomas Cole's Course of Empire cycle of c. 1834-1836.

  16. House by Rachel Whiteread

    London, England, UK. Demolished 1994. The Disappointed Tourist: House, Ellen Harvey, 2023. Oil and acrylic on Gessoboard, 24 x 18″ (61 x 46 cm). Photograph: Etienne Frossard. House was a temporary sculpture made by British artist Rachel Whiteread. With the support of the arts organization Artangel, she cast the inside of a to-be-demolished ...

  17. Curious Objects

    We chat with filmmaker Rachel Gould, better known on YouTube as the Art Tourist. Listen Now. Front Title. Debunking the Hitler Diaries and Other Adventures, with Kenneth Rendell. ... In this episode, Ethan Lasser, chair of the Museum of Fine Arts, Boston, tells the story of Dave Drake, an enslaved potter at work in Edgefield County—and that ...

  18. Rachel Gould on Instagram: "We, formerly known as Several Circles, have

    59 likes, 17 comments - thearttouristchannel on January 27, 2023: "We, formerly known as Several Circles, have news! We've decided it's time for the next chapt..."

  19. Kicking the Cubicle: Rachel Reinert, Artist

    Rachel Reinert's impact and recognition in the art world are undeniable, with her artwork resonating deeply with viewers and drawing the attention of art enthusiasts, collectors, and critics alike. Through her unique artistic voice, she has made a lasting impression and left an indelible mark on the contemporary art scene.

  20. Homepage

    Abigail Lucien is a Haitian American interdisciplinary artist. Working in sculpture, literature, and time-based media, Lucien's practice addresses themes of (be)longing, futurity, myth, and place by considering our relationship to inherited colonial structures and systems of belief/care.

  21. The Travelling Bookbinder

    Rachel Hazell. As teacher, author and traveller, books, words and the power of imagination have always been central to Rachel's life. She believes that everyone has a book inside them, and loves sharing the satisfying experience of creating unique artwork, in the most inspiring places. Read more.

  22. Home []

    Welcome. Lose yourself for a little while in the vibrant poetry of Rachel's soft pastel works. You can almost feel the sunlight on your skin, smell sweet scented florals, hear the quiet flutter of hummingbird wings... The Commission Process. About the Artist. The Shop.

  23. Mark Wahlberg's First Municipal Clothing Store Just Opened in L.A

    Mark Wahlberg's clothing brand Municipal recently opened an epic new 1,100-square-foot store on buzzy Melrose Avenue in West Hollywood.

  24. Hundreds of Florida arts groups scramble for funding after ...

    There is no more state funding for the arts in Florida after Governor Ron DeSantis cut 32 million from the state budget. Now arts organizations are scrambling to make ends meet.

  25. Rachel Gould

    410 likes, 30 comments - thearttouristchannel on February 20, 2024: "#arthistory #artreels #historyofart #artvideos #artaddict #artnerd #zendaya #sorayama #thierrymugler #starwars #fashion #ukiyoe".

  26. Jay Slater: Search for missing teenager in Tenerife called off by ...

    The apprentice bricklayer, from Oswaldtwistle, had been attending the NRG music festival on 16 June, and his friends said they were out in the tourist hotspot of Playa de las Americas when he was ...