sábado, 19 de noviembre de 2016

the disconcerting truth is that Donald Trump and his voters are sailing not merely in the face of the winds of change but against history’s dominant trends: global demographics are against him, as are American demographics; the reality of urbanization is against him;

Can Cities Counter the Power of President-Elect Trump?

As the federal government turns toward nationalism, local governments will become crucial beacons of pluralism.
Can Cities Counter the Power of [...]
A woman dressed as the Statue of Liberty waves an American flag in front of the highway as thousands of people protest in the streets against President-elect Donald Trump in Los Angeles on Nov. 12. (Photo by Aurelien Meunier/Getty Images)
This post originally appeared at The Nation.
The American political establishment is going through the motions of uniting around Donald Trump, shocking though his victory has been for the 37 percent of Americans who said that fear was their first reaction to his election. All the necessary civic pleasantries have been spoken. “Heal the divisions of a long campaign,” said Paul Ryan. We owe Trump “an open mind and chance to lead,” said Secretary Hillary Clinton. “We are all on one team,” said President Barack Obama. They have to say these things to symbolize the peaceful transition of power of which our democracy boasts. And yes, on Nov. 10, the man who for more than five years denied President Obama’s American citizenship and was endorsed by the KKK was cordially received by that first black president of the United States as his successor and our — astonishing words! — president-elect, who in turn showed the sitting president deference and respect.
In the interdependent world in which we live, however, an American civics lesson is not enough. We also have a responsibility to give expression to the global perspective that defines and emanates from the rest of the world — and also, crucially, from oases of diversity and inclusion within our own borders. Trump’s winning “America First” message (USA! USA!) hardly does the job.
Seen from a global historical perspective, the disconcerting truth is that Donald Trump and his voters are sailing not merely in the face of the winds of change but against history’s dominant trends: global demographics are against him, as are American demographics; the reality of urbanization is against him; the mobility of peoples is against him; and the growing dysfunction of national sovereignty on an irreversibly interdependent planet is against him. In this world without borders, where no one nation can solve global problems alone and walls are not so much malevolent as irrelevant, the cosmopolitan voice is also history’s voice — reality’s voice — and a viable American voice too. It represents a majority of the world’s population, four-fifths of its GDP, and speaks for our inexorable urban destiny. We cannot allow it to be lost in the noise of parochial national xenophobia, or self-indulgent recrimination about why Democrats lost, for it speaks for us too.
The cosmopolitan voice is, of course, the voice of cities, and it is the natural antidote to Trump. Look carefully at the electoral map: It is not, as pundits now insist, the victory of the heartland, from Pennsylvania and Ohio to Wisconsin and Michigan, over the two liberal coasts; it is the victory of suburban, exurban and rural counties over cities — blue islands found in every red state in the nation. And it is this national, gerrymandered electoral map, mediated by an undemocratic electoral college, that prevented the urban vote from winning the White House — even though it won the majority. I say this not to recriminate but to focus on the real division of America, which is urban/rural right across the land, not coastal/interior.
The new American reality suggests a very particular role for cities. The dominance of the Trump brand of Republican Party over all three branches of government renders the old balance of powers ineffective. Yet America’s cities and the networks they have forged with cities across the world — in bodies like the C40 Cities Climate Leadership Group, the US Conference of MayorsEuroCities and the new Global Parliament of Mayors.
It is the federalist principle, encoded in the Ninth and 10th Amendments (the Second Amendment isn’t the end of the Bill of Rights), that offers an alternative — a vertical separation of powers: “the enumeration in the Constitution of certain rights shall not be construed to deny or disparage others retained by the people,” reads the Ninth. And “the powers not delegated to the United States by the Constitution, nor prohibited by it to the states, are reserved to the states respectively, or to the people,” adds the 10th.
Today it is America’s cities that can confront President Trump, asserting, “You are our president, but you are not the representative of our principles.” The Constitution empowers us to defend our sacred beliefs and rights — inclusion, diversity, climate action and social justice. And when a Washington patriot cries “USA USA!” an urban patriot will proudly respond “Planet Earth!”
The role of cities rests on right: the obligation under the social contract to uphold the life, liberty and sustainability of their citizens — something nation-states have shown themselves increasingly incapable of doing. Once upon a time, nations aspired to universality, and local jurisdictions were parochial and particularistic. Today the valence is reversed, and cities speak to global common goods — marriage rights, minimum wage, climate action, creative culture, refuge for immigrants — while nations have grown parochial and xenophobic. Urbanity is a global virtue associated with diversity and multiculturalism; nationalism has a parochial character upheld by walls.
So, as we watch the Republican Party try to undo the Obama legacy, and close the road to immigration and inclusion, we need to listen to the voice of cities: Mayor Eric Garcetti of Los Angeles and Mayor Marty Walsh of Boston on the coasts, but also mayors from the heartland like Megan Barry of Nashville and Kasim Reed of Atlanta; notable Democratic mayors like Bill de Blasio of New York and Michael Hancock of Denver, but also Republican mayors with urban agendas like Mick Cornett of Oklahoma City and Richard Berry of Albequerque, who are attuned to urban challenges rather than ideology. These mayors and their cities are as much America as the myriad red counties that turned back the clock in Washington. And they will tell you that what they share with Paris and Cape Town and Seoul and London is as important as what they share with Washington, DC.
They will remind us that, in order to hear the voice of England after Brexit, we must listen to the voice of Marvin Rees, a newly elected biracial mayor of Bristol, and Sadiq Kahn, the son of a Pakistani bus driver who is now the mayor of London. They will rebuke Marine Le Pen of the National Front for saying the United States and France are finally bound together by a shared contempt for Muslims and a fear of immigrants by pointing to the Spanish-born mayor of Paris, Anne Hidalgo, who is the new chair of C40 Cities, and who is working to forge a new “Grand Metropole Paris” that incorporates both the wealthy inner city and the immigrant suburbs that lie beyond the périphérique.
It is America’s cities that can confront President Trump, asserting, ‘you are not the representative of our principles.’
Trump is no more the sole source for an American view on immigrants than Geert Wilders, the anti-Muslim Dutch rabble-rouser, is the sole voice of the Dutch view. Listen, rather, to Mayor Ahmed Aboutaleb, the Moroccan-born mayor of Rotterdam, who is only incidentally a Muslim and massively popular; or to Jozias van Aartsen, the mayor of The Hague who, in September, hosted the founding meeting of a new Global Parliament of Mayors, which may become to cities what the United Nations once hoped to become for nations.
If you want to see which way history is facing, consult visionaries like Mayor Park Won-soon of Seoul and Mayor Patricia de Lille of Cape Town; Mayor Akel Biltaji of Amman, who is host to 1.3 million Syrian refugees; and, again, Mayor Cornett, a Republican who is president of the US Conference of Mayors and works closely with New York’s Mayor de Blasio.
For the simple truth that President-elect Trump will have to accept if he does not want to destroy the nation he aspires to lead is that nation-states are in trouble, and national governments are in disarray from Brazil and Belgium to Hungary and the Philippines — not least of all because they have refused to acknowledge the blunt realities of interdependence. The road to prosperity, no less than the road to global democracy, runs not through states but through cities. Cities are now the guardians of the future, the bastions of diversity.
Yes, America needs to hear the voice of the “forgotten” voters who put Donald Trump into the White House — the angry rural whites and school dropouts and glowering monoculturalists and women for whom class weighs heavier than gender.
Yes, America needs to hear the voice of the “forgotten” voters who put Donald Trump into the White House — the angry rural whites and school dropouts and glowering monoculturalists and women for whom class weighs heavier than gender. Bill Clinton spoke prophetically about them back in 1994, in the wake of an earlier revolution that became known as Newt Gingrich’s Contract with America, when a wave of disgruntled rural voters elected 80 new and deeply parochial congressmen (not one of them in possession of a passport!) and flipped the House of Representatives, which then proceeded to block most of what then President Clinton was trying to enact. The president said back then, prompted by an impassioned Hillary, and despite the angry ideological protests of consultants like me:
“I know how you feel. I understand Hillary’s sense of outrage. It makes me mad, too. Sure, we lost our base in the South and boys voted for Gingrich. But let me tell you something. I know these boys, I grew up with them. Hardworking, poor white boys who feel left out. Feel that our reforms always come at their expense. Think about it, every progressive advance our country has made since the Civil War has been on their backs. They’re the ones asked to pay the price of progress. Now, we are the party of progress, but let me tell you, until we find a way to include those boys in our programs, until we stop making them pay the whole price of liberty for others, we are never going to unite our party, never really going to have change that sticks.”
Clinton’s prophetic words come tumbling down across the decades, a frenzied echo from voices from the American past that, having been ignored, have defeated Hillary and now stand ready to take the American future hostage. But however justified, however deaf Democrats and liberals have been to these rumbling voices, we cannot afford to make war on each other, or on history, in their name. In remembering America’s forgotten, we cannot forget the world of 8 billion people, most of whom are neither American nor white nor “Western,” with whom our survival is inextricably bound and from whom no wall can separate us. We cannot permit President Trump to turn the resentment of power into its concentration and abuse.
To contain it, to divide it, to prevent its abuse will now be the task of cities, which must find a way to acknowledge grievance without scapegoating those same people the aggrieved have been encouraged to blame. It is cities that can, perhaps, find a way to allow black and white to join in opposition to monopoly power rather than, by setting them against one another, assure its consolidation. It is in cities where Martin Luther King, at the end of his life, devoted himself to the pursuit of racial justice for both blacks and whites in his Operation Breadbasket. That must be the model.
Ironically, Donald Trump is a city boy from Queens — albeit with Manhattan-style power-broker aspirations — with a gift for manipulating the fears and resentments of those who despise the city. Maybe the city boy can find a way to listen to the voice of cities as well of the suburbs and countryside. Maybe cities can make him.

BENJAMIN BARBER

Benjamin Barber is distinguished senior fellow at Fordham Law School’s Urban Consortium, and the author most recently of If Mayors Ruled the World: Dysfunctional Nations, Rising Cities and the forthcoming Cool Cities: City Sovereignty and the Urban Fix to Global Warming. Follow him on Twitter: @BenjaminRBarber.

ARTIST AGNES MARTIN ON INSPIRATION + CULTIVATING A CREATIVE ATMOSPHERE AND..........

Artist Agnes Martin on Inspiration, Interruptions, Cultivating a Creative Atmosphere, and the Only Type of Person You Should Allow Into Your Studio

“The development of sensibility is the most important thing for children and adults alike, but is much more possible for children…. Adults are very busy, taught to run all the time. You cannot run and be very aware of your inspirations.”

Artist Agnes Martin on Inspiration, Interruptions, Cultivating a Creative Atmosphere, and the Only Type of Person You Should Allow Into Your Studio
During my annual surrender to a week of forced extroversion, I was acutely reminded of the perils of interruption in creative work. Although studies of the psychology of the optimal creative environmentindicate that some artists and writers thrive when surrounded by stimulation, most creative work requires unburdened space and uninterrupted time for what Mary Oliver calls “that wild, silky part of ourselves” — also known by its commonplace name, inspiration — to reveal itself.
The nature of that wild, silky part and the conditions that best coax it forth is what the great artist Agnes Martin (March 22, 1912–December 16, 2004) examines with uncommon insight in her handwritten notes for a student lecture, included in the magnificent monograph Agnes Martin: Paintings, Writings, Remembrances (public library), edited by Martin’s longtime friend and Pace Gallery founder Arne Glimcher.
Agnes Martin at her studio in New Mexico, 1953 (Photograph: Mildred Tolbert)
Agnes Martin at her studio in New Mexico, 1953 (Photograph: Mildred Tolbert)
Martin begins with the often troublesome relationship between the artist’s ego and the artist’s art:
I have sometimes, in my mind, put myself ahead of my work and have suffered in consequence. I thought me, me and I suffered and the work suffered and for that I suffered more. I thought I was important. I was taught to think that. I looked very big and the work small. But now I see it quite differently. To think I am big and the work big, the position of pride, is not possible and to think I am small and the work small, the position of modesty, is not possible.
The only possible position for creative work, Martin suggests, is the position of inspiration, which she considers “the beginning and end of all art work.” For this notoriously elusive grab-bag concept she offers the crispest yet most expansive definition I have yet encountered:
An inspiration is a happy moment that takes us by surprise.
Many people are so startled by an inspiration or a condition of inspiration, which is so different from daily care, that they think that they are unique in having had it. Nothing could be further from the truth. Inspiration is there all the time for anyone whose mind is not covered over with thoughts and concerns, and [it is] used by everyone whether they realize it or not.
[…]
It is an untroubled state of mind. Of course, we know that an untroubled state of mind cannot last, so we say that inspiration comes and goes, but it is there all the time waiting for us to be untroubled again. We can therefore say that it is pervasive.
agnesmartin1
In a sentiment that echoes and adds dimension to Picasso’s famous proclamation that every child is an artist, Martin considers how our relationship with inspiration evolves over the course of a lifetime:
Young children have more time in which they are untroubled than adults. They have therefore more inspirations than adults. The moments of inspiration added together make what we refer to as sensibility — defined in the dictionary as “response to higher feelings.” The development of sensibility is the most important thing for children and adults alike, but is much more possible for children.
But inspiration, Martin argues, cannot be controlled or willed — it can only be surrendered to. She illustrates this by way of the child:
What is the experience of the small child in the dirt? He suddenly feels happy, rolls in the dirt probably, feels free, laughs and runs and falls. His face is shining… “The light was extraordinary, the feeling was extraordinary” is the way in which many adults describe moments of inspiration. Although they have had them all their lives they never really recall them and are always taken by surprise. Adults are very busy, taught to run all the time. You cannot run and be very aware of your inspirations.
It’s a sentiment that pierces our modern condition and calls Kierkegaard to mind — as he contemplated our greatest source of unhappiness more than a century earlier, the Danish philosopher lamented: “Of all ridiculous things the most ridiculous seems to me, to be busy — to be a man who is brisk about his food and his work.” To counter this ridiculousness, Martin urges artists to create a sanctuary for inspiration — a space devoid of busyness and dedicated to unburdened clarity of mind, with “no telephone,” where one is “to be disturbed only if the house is burning.” A century and a half after Delacroix admonished against social distractions in creative work, she counsels aspiring artists:
A studio is not a place in which to talk to friends. You will hate your friends if they destroy the atmosphere of your studio. As an artist you will have to try and live with inspiration. You are not like the little boy in the dirt free and open. The whole world which you now know intrudes. It is almost hopeless to expect clarity of mind. It is hopeless if your studio atmosphere cannot be preserved.
agnesmartin2
But there is one kind of person who should be allowed, even invited, into the artist’s studio — the kind that calls to mind Patti Smith’s notion of those who magnify your spirit. Martin writes:
There are some people to be allowed into the studio, however, who will not destroy the atmosphere but will bring encouragement and who are an absolute necessity in the field of art. They are not personal friends. Personal friends are a different thing entirely and should be met in cafés. They are Friends of Art.
Friends of art are people with very highly developed sensibilities whose inspiration leads them to devote their lives to the promotion of art work and to bringing it before the public.
Such “friends of art,” Martin argues, bring with them a highly attuned intuition — intuition being, of course, merely the accretion of experience-encoded discernment— which can help guide the artist closer to his or her own truth:
When they come to see the work it is not to judge it but to enjoy it… When these friends of art come to your studio they should be treated as honored guests, otherwise you will destroy the atmosphere of your studio yourself. If you are not ready to do this, be sure to wait till you are ready. The premature showing of work when you are perhaps struggling and even fighting is an unnecessary suffering. You will know when you are really ready.
Because the studio should be a sacred space for the untroubled mind, Martin recommends avoiding physical clutter in order to prevent mental clutter:
You must clean and arrange your studio in a way that will forward a quiet state of mind. This cautious care of atmosphere is reallyneeded to show respect for the work. Respect for art work and everything connected with it, one’s own and that of everyone else, must be maintained and forwarded. No disrespect, carelessness or ego [and] selfishness must be allowed to interfere if it can be prevented. Indifference and antagonism are easily detected — you should take such people out immediately. Just turning the paintings to the wall is not enough. You yourself should not go to your studio in an indifferent or fighting mood.
Couple the beautiful and revelatory Agnes Martin: Paintings, Writings, Remembrances, which features gorgeous reproductions of her most celebrated artwork alongside previously unpublished interviews, essays, and meditations, with Martin on art, pride, failure, and happiness, then revisit Tchaikovsky on work ethic vs. inspiration and Bob Dylan on the ideal conditions for creative work.

How to Use Cayenne Pepper TO STOP A HEART ATTACK IN 60 SECONDS----

HOW TO STOP A HEART ATTACK IN JUST 60 SECONDS – ITS VERY POPULAR INGREDIENT IN YOUR KITCHEN

Many people are unaware that a simple but powerful ingredient can prevent a heart attack in one minute. One popular herbalist, John Christopher has discovered the most effective formula how to stop a heart attack in 1 minute. There are more than 50 herbal formulas but one of them turned up to be the most effective. No matter that he has no doctorate, his contributes in alternative medicine are very significant.
His secret ingredient is cayenne pepper! He knew that this pepper can prevent a heart attack in 60 seconds, and he also claims that this method works impeccably at saving lives. Cayenne is the most popular kind of chilli pepper. Make sure that you always have some on hand- it can save a family member from a heart attack.
How to Use Cayenne Pepper
Cayenne pepper has at least 90,000 Scoville units, according to the Scoville Heat Units (SHU). Habanero, African Bird, Thai Chi, Jamaican Hot Pepper, Jalapeño, and Scotch Bonet are species of peppers that have the same SHU value. You can find cayenne pepper in supermarkets, oriental grocery stores or health food stores.
If you have cayenne pepper at home, give the person having a heart attack a teaspoon of cayenne pepper in a glass of water. The patient has to be conscious for this to work.
If the person is unconscious, you can use cayenne pepper extract. Put a few drops under patient’s tongue for results.
Cayenne pepper is a powerful stimulant; it increases heart rate and carries blood to all parts of the body, balancing circulation. Cayenne pepper has hemostatic effect, stops bleeding instantly, and helps in heart attack recovery.
Remember, many health experts say that they have never lost a patient thanks to this instant therapy.
Dr Schulz’s Cayenne Tincture Recipe
This tincture is the best remedy for emergency cases of heart attacks. Use only cayenne pepper, which is the most popular kind of chili pepper; it is grown in India and South America.
Chili is a bushy tropical plant, and unlike peppers, it is a perennial plant. Ground chili is twenty times stronger than regular pepper, because it contains much more capsaicin, a pepper alkaloid. The heat of chili peppers is inversely proportional to the size of the pepper, so the tiniest peppers are usually the hottest. Always go for this kind.
Ingredients
  • Cayenne pepper powder
  • 1-3 fresh cayenne peppers
  • 50% alcohol (you can use vodka)
  • 1 litre glass bottle

  • Gloves
    image credits
Instructions
  1. Put on gloves for safety.
  2. Fill a quarter of the glass bottle with cayenne pepper powder. Pour in just enough alcohol that it covers the powder.
  3. In a blender mix the fresh peppers with enough alcohol that you get a sauce-like consistency. Add the mixture to the bottle so that  ¾ of the bottle is filled.
  4. Fill the bottle to the top with alcohol and put the lid on. Shake the bottle several times a day.
  5. Leave the tincture in a dark place for two weeks, then strain. Keep final tincture in a dark bottle. For a stronger tincture, let it infuse three months before straining.
  6. Store tincture in a dry, dark place. It never spoils.
Dr. Schulz’s Dosing Recommendation
Give 5-10 drops of the tincture to the conscious patient who has suffered a heart attack or stroke. Give another 5-10 drops after 5 minutes. Repeat the treatment until the patient’s condition improves.
If the patient is unconscious, put 1-3 drops under their tongue, and begin CPR. Repeat the treatment after 5 minutes, and repeat it every 5 minutes until your patient’s condition improves.
Health Benefits
  • Cayenne pepper can be used in the treatment of other ailments.
  • It has antifungal properties; it prevents the occurrence of Phomopsis and Colletotrichum.
  • It is known for its beneficial effect on the digestive system, because it stimulates the production of gastric juices, and relieves gases.
  • Cayenne peppers have anticancer properties, and they are especially recommended to patients diagnosed with lung cancer and smokers. It is believed that capsaicin found in cayenne pepper prevents the development of tumors caused by tobacco, and similar results are noticed in patients diagnosed with liver cancer.
  • It is also helpful in the treatment of stomach problems, flu symptoms, migraines, allergies, redness, obesity, toothache and arthritis.
Nutritional Value
Scientists have confirmed the presence of 26 different nutrients in cayenne pepper. Calcium, zinc, selenium, and magnesium are some of the most essential minerals found in cayenne pepper. In addition to minerals, cayenne peppers are rich in Vitamins C and A.
Cayenne pepper is one of the strongest natural spices and can do miracles for the heart. If you struggle with heart problems, always have this tincture on hand.

Its NOT a CARAVAGGIO.........

Milan’s Brera Museum of Painting is currently at the center of a vexing debate surrounding the authenticity of a 400-year-old painting discovered in a French attic in 2014. Although the museum has stated it does not wish to take part in the debate, its display of the work might suggest otherwise.
Louis Finson, “Judith Beheading Holofernes,” circa 1605-1610, oil on canvas

Michelangelo Merisi da Caravaggio, “Judith Beheading Holofernes,” circa 1599, oil on canvas, 57 x 77 in. (c) Galleria Nazionale d’Arte Antica, Rome 2016
As we — and countless scholars — have discussed, Michelangelo Merisi da Caravaggio (1571-1610) is perhaps one of the most contested, researched, and fascinating artists to have ever lived. Although most of his fame may be attributable to his unforgettable pictures, his controversial biography — one that surrounds his violent murder of a man and subsequent flight from Rome — deserves a healthy dose of credit as well.
Louis Finson, “Judith Beheading Holofernes,” circa 1605-1610, oil on canvas
Louis Finson?, “Judith Beheading Holofernes,” circa 1605-1610, oil on canvas
The name Caravaggio is making waves across the art world this fall and forcing many of the artist’s most accomplished scholars to choose sides — par for the course. In 2014, a couple living in a home near the southwestern city of Toulouse, France, were investigating a leaky ceiling when they stumbled across a lovely 400-year-old tableau that some specialists argue is an authentic work by the Baroque master. If true, the value of the painting could easily exceed $200 million.
Michelangelo Merisi da Caravaggio, “Judith Beheading Holofernes (detail),” circa 1599, oil on canvas, 57 x 77 in. (c) Galleria Nazionale d’Arte Antica, Rome 2016


Louis Finson?, “Judith Beheading Holofernes (detail),” circa 1605-1610, oil on canvas



Michelangelo Merisi da Caravaggio, “Judith Beheading Holofernes,” circa 1599, oil on canvas, 57 x 77 in. (c) Galleria Nazionale d’Arte Antica, Rome 2016
Michelangelo Merisi da Caravaggio, “Judith Beheading Holofernes,” circa 1599, oil on canvas, 57 x 77 in. (c) Galleria Nazionale d’Arte Antica, Rome 2016
The painting displays a familiar scene, namely because there survives an example of the same subject that has earned universal acceptance as an authentic Caravaggio, housed today in the Galleria Nazionale d’Arte Antica. The Biblical scene — which displays the dramatic moment when a Jewish girl, Judith, beheads the Assyrian general Holofernes — was popular among artists and patrons, and many examples survive.
A comparison of the canvas in question and the authenticated work by Caravaggio reveal striking similarities — they are nearly identical, in fact. Executed with strong tenebrist light, a black background, and blood-red sheets dramatically draped above, the piece is undeniably in the style of Caravaggio. Eric Turquin believes every element of the piece aligns with the Baroque master, including “the light, the energy typical of Caravaggio, without mistakes, done with a sure hand and a pictorial style that makes it authentic.”
Michelangelo Merisi da Caravaggio, “Judith Beheading Holofernes (detail),” circa 1599, oil on canvas, 57 x 77 in. (c) Galleria Nazionale d’Arte Antica, Rome 2016
Michelangelo Merisi da Caravaggio, “Judith Beheading Holofernes (detail),” circa 1599, oil on canvas, 57 x 77 in. (c) Galleria Nazionale d’Arte Antica, Rome 2016
Louis Finson?, “Judith Beheading Holofernes (detail),” circa 1605-1610, oil on canvas
Louis Finson?, “Judith Beheading Holofernes (detail),” circa 1605-1610, oil on canvas
It is well-documented that after Caravaggio’s life and career, his revolutionary works inspired generations of followers who delighted in the opportunity to copy and learn from them. It is the opinion of this author that the recently discovered work does not appear to be executed with the same level of naturalism or skill. In particular, the contorted body of Holofernes is awkwardly placed in the composition and the lack of foreshortening in his right arm seems oddly erroneous. Further, the number of Caravaggio followers would allow the possibility for period copies to survive.
Some scholars agree, and the name of Flemish painter Louis Finson (1580-1617) has surfaced as a potential candidate. Finson was born in Bruges but spent most of his life and career in Provence. Enjoying much renown during his life, he’s credited with having become the first Flemish Caravaggisti — or follower of Caravaggio. In particular, the figure of Holofernes in the debated picture displays a few anatomical consistencies with Finson, including the rather pale tone of the skin and slightly elongated form. Further, the painting having been found in France might also add some degree of support, albeit more weakly.
The painting is currently being shown juxtaposed with authentic works by Caravaggio through February 5 at Milan’s Brera Museum of Painting. The display hedges on the identification of the picture, adding an asterisk and noting its attribution to Caravaggio. Whatever side of the fence you fall, we cannot forget the excitement and celebration of this discovery, irrespective of its creator. Even so, some in the art word who believe in the painting’s authenticity might be exhibiting some wishful thinking.