History With Emma

monthly restock

anyone guessing which Paris museum this is? 🤔👀👀

Happy Monday = Happy Monday Art Club

Hoping that you all had a beautiful weekend ready for this new week full of chances🌈 starting the week off with quite a strong painting inviting you to meditate🌳

Enjoy the view and tell us what you see 👀

I see Paul Cézanne as a modernist painter of Provence who loved analyzing how things are built, almost like he was gently reconstructing the world in paint.

Looking at this, I find myself thinking, see how unfinished it is? The trees feel like they are still forming, the brushstrokes searching rather than settling. The grass flickers instead of lying flat, and the space seems to shift as you look. And also because it is literally unfinished at the corners of the piece 🫣

That is very much the point. Cézanne once said, “I want to make of Impressionism something solid and durable, like the art of the museums.” He was less interested in finishing every detail and more interested in building form through color and perception.

It feels a bit like being inside his thought process. Not messy, just open. Like he is letting us watch him figure it out, and trusting that the act of seeing is enough.

Happy Saturday

a beautiful day spent at

The estate originally known for its races now has a beautiful art foundation (=most perfect day getaway for my Londoners)

These pictures are a pre-taste of this magical (very sunny) day💚 stay tuned for more

Top by I am in love and can’t remove it

Matissing type of morning

Schiele’s Lo******ng is an intense, unsettling painting about desire, intimacy, and emotional distance.

The couple may still be clothed, but they appear to be in the midst of in*******se, making the scene feel sudden, private, and possibly illicit. Yet instead of passion or tenderness, their faces seem mournful and detached, as if their bodies are close but their minds are elsewhere.

Schiele was famous for pushing the boundaries of what art could show. Here, lo******ng is not idealized or romanticized. It is raw, awkward (very), human, and psychologically charged. The woman’s right hand, with its unusual separation between the little and ring fingers, also echoes a gesture seen in Schiele’s self portraits.

This painting shows how Schiele turned erotic subject matter into something emotionally complex, exposing not only desire, but vulnerability, unease, and loneliness.

Extra side dish:
Egon Schiele was a pupil of another Secession icon, Gustav Klimt himself.

(Excuse the relaxing song but I had to relax the ambiance)

Happy Friday!