Painting and Halls Description
Baroque-Style Entrance Hall
Upon entering the hall, guests are greeted by the elegant painting La Camare Dancing, created by the French artist Nicolas Lancret.
This artwork immediately sets the tone for the space — light, refined, and filled with artistic sophistication.
The dancer’s movement, frozen in time, evokes the golden era of European ballet and salons. The painting is not merely a decoration; it becomes the heart of the hall, welcoming all who step into the estate and inviting them into a world where art permeates the very fabric of architecture and atmosphere. The intertwining of figures and landscape in a complex curvilinear design embodies the Rococo style. The color palette gives the composition a magical quality, blending the idea of nature with the fantasy of theater. Just like in the Silajāņi Manor – Apple Manor & Garden Complex, where art and nature are interwoven, this hall becomes the opening chord in the symphony that embraces the entire building. Here, every detail — from the paintings to the wall textures — reflects my aspiration to create a space where the boundaries between artistic intention and natural harmony dissolve.
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Silk printing. La Camare Dancing. Original: oil on canva.
Nicolas Lancret, ca. 1730.
National Gallery of Art, Washington, D.C., USA)
The artists (who are also the Apple Manor owners) have intentionally interlaced art and nature in every room of the manor, turning the interior into a living gallery where the rhythms of nature echo through the lines of paintings, the plasticity of sculptures, and decorative patterns. Every hall and room tells its own story — of light’s dance, the garden’s breath, the silence of an old wall.
On the walls from left and right side from the main entrance its situated 2 reproduction printing on canvas, author of both its Hans Zatzka Austrian painter.
Many of Zatzka's works were religious paintings and altar pieces dedicated to various churches in Austria. However, he is more known for his paintings of women, fairies, and other fantastical scenes. Often, he would draw inspiration from the works of Richard Wagner and the fairy tales of the Brothers Grimm. Interesting fact - to increase sales and bypass gallery restrictions, he used several pseudonyms, such as H. Zabateri and J. Bernard, making it difficult to trace the origins and current locations of many of his paintings.
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Hans Zatzka “Fairy dance” oil on canva, 1920. Austria private property
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Hans Zatzka “Nymphs dance” oil on canva, 1921. Austria private property
"Sleeping shepherdess" 1760-63, François Boucher, Residence Gallery, Salzburg
"The Angler" ca.1759,
François Boucher, Private collection.
"Are they thinking about grapes?", François Boucher, Art Institute of Chicago Chicago USA
Welcome to the Art Hall
This Art hall is styled in Austrian Baroque and dedicated to 18th-century French art.
At the center of attention are reproductions of four paintings by François Boucher (1703–1770) — an outstanding French painter, draftsman, ornament designer, engraver, and decorative artist. A key figure of 18th-century French art and a vivid representative of the Rococo style.
Boucher was extraordinarily prolific, producing an enormous number of drawings, sketches, paintings, book illustrations, engravings, and designs for decorative and applied arts: he created opera and theater sets, tapestry designs for the Royal Gobelins Manufactory, painted Sevres porcelain, decorated fans, and produced miniatures.
In his genre scenes, Boucher skillfully portrayed interior details, costumes of women engaged in daily routines or conversations with maids, mothers or governesses with children seated at tables — all imbued with mood and elegance.
Silk-printed reproductions of his paintings were gifted to the owners of Silajāņi Manor in recognition of their cultural heritage preservation efforts — as the owners themselves are artists and restorers dedicated to cultural legacy.
Highlighted Works.
Reproduction of Boucher's painting printed on silk is "The Sleeping Shepherdess." The canvas depicts a young shepherdess who has fallen asleep in a meadow surrounded by nature - with a shepherd's crook, a basket and sheep. Her pose is full of grace, her dress is slightly open, which gives the image a slight eroticism typical of the Rococo aesthetic. The painting does not so much convey a realistic scene from rural life, as it creates an idealized image of rural tranquility, a pastoral idyll, in which sensuality and sophistication are combined with a playful view of nature and love. Such shepherdesses, cupids, goddesses and muses were especially popular at the court of Louis XV, whose favorite Madame de Pompadour was Boucher's patroness and commissioned similar scenes from him. The painting "Sleeping Shepherdess" is in the Louvre Museum, Paris, and there are also various versions and copies of this scene (more than 10 of them) - all made by Boucher or in his workshop. It is known that he often created several versions of the same composition, sometimes with changes in details or poses. This canvas is also a gift to the owners of Silajāņu manor as a token of gratitude for the preservation of cultural heritage and art.
Another Boucher's reproduction - “The Angler”, ca. 1759 printed on silk, this reproduction is of a lesser-known pastoral scene possibly painted by Boucher himself. The original is in private hands (owner undisclosed), and art historians from the Louvre and the Met still debate whether it’s a rare late-period work or a variation in Boucher's own style, as he often created multiple versions of his compositions.
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"Are They Thinking of Grapes?", 1747 – This painting by François Boucher is originally housed at the Art Institute of Chicago. The playful title is reflected in the painting itself. This painting is based on a 1745 pantomime about the awakening love of a young shepherd for a shepherdess. The couple feed each other grapes – a fruit associated with Bacchus (Dionysus), the god of wine and pleasure – hinting that their encounter is not entirely chaste. François Boucher’s pastoral compositions constitute his most influential contribution to 18th-century French art. These lush and playful fantasies of country life, created primarily for the personal pleasure of wealthy financiers and aristocrats, had little to do with the social realities of rural labor of the period.
On the opposite side is another reproduction by François Boucher from the Four Seasons series "Spring". The original painting is housed in the Frick Museum (one of the most prestigious and sophisticated art museums in New York, located on Manhattan's Upper East Side. It was founded by industrialist and collector Henry Clay Frick (1849-1919), who bequeathed his private art collection, as well as the mansion in which it was housed, to the City of New York).
The Seasons series reflects Boucher's interest in allegorical subjects and his mastery of conveying moods through genre scenes. Spring embodies the ideals of Rococo: the desire for beauty, sophistication and harmony. It is interesting to note that Boucher created several versions of his works, including Spring, which indicates the popularity of the theme and its demand among customers. The reproduction of this painting in the hall of Silajāņu manor is placed with an emphasis on emotional details, which allows us to more deeply feel the mood and experiences of the characters (the painting itself has a wider landscape around the characters), this is one of the most striking works of the artistic cycle.
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François Boucher "The Four Seasons.Spring” 1755
On another wall there is a reproduction of Luis Alvarez Catal's painting "Preparations for the Masquerade", a canvas painted in 1881 in Rome.
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This painting by the Spanish artist depicts a scene from an elegant masquerade ball, typical of the gallant genre and the Rococo style.
The painting depicts elegantly dressed ladies and gentlemen in 18th-century costumes, immersed in an atmosphere of celebration and flirtation.
Carefully worked out interior details, exquisite outfits and refined gestures of the characters create a sense of theatricality and romantic nostalgia for a bygone era.
Masquerade. Luis Alvarez Catala. Oil on canvas 1881
In the 19th century, Europe saw a surge of interest in past eras, especially the 18th century, which was perceived as a time of sophistication and sensual freedom. Paintings like “Preparations for the Masquerade” became a kind of “window” into an idealized past, especially popular among the aristocracy and bourgeoisie.
Català, like many of his contemporaries, did not simply copy historical subjects - he conveyed the mood of a bygone century, its lightness and refined play. The masquerade as a subject serves as a wonderful symbol of duality - it is both a celebration and a cover, both freedom and deception.
The reproduction of the painting was given to the owners of Silajanu manor by the museum curator after their visit to the Prado Museum in Italy in 2010. The original painting was in a private collection for a long time and was sold at auction in 2012, the name of the new buyer is not disclosed.
The hall itself is designed to convey the atmosphere of an 18th-century French aristocratic salon. It features antique furniture in the Austrian Baroque style, in harmony with the architecture of the building itself and creating a complete immersion in a world of refined beauty.
The painting "The Solo Recital" is one of the exquisite works of the Italian artist Vittorio Reggianini (1858-1939), a master of genre painting, famous for his depictions of scenes from the life of the European bourgeoisie of the 18th century.
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The Solo Recital. Vittorio Reggianini (date unknown. Aprox 1920)
The reproduction of the painting is made on canvas and was given as a gift. The original painting is in a private collection and has never been exhibited. The artist Vittorio Regianini himself, like Francois Boucher, loved to create several variations and scenes of the same painting.
He became famous as the author of salon painting in each painting by Vittorio Regianini you can find deep symbolism and metaphors.
Vittorio Regianini uses various images and allegories to convey his thoughts and ideas. Each detail on the canvas has its own meaning and hides secrets that are revealed only by the gaze of an attentive observer. Look how the girls' looks are intertwined and how the painting within the painting reflects the spirit and mood of the plot.
Another reproduction of the painting by Vittorio Regianini "Reading" from the same series was acquired by the owners of the estate in the Gutenberg Museum (Mainz, Germany).
This museum houses (Gutenberg Museum in Mainz) the largest collection of this artist's works. The original painting is in a private collection and is available for viewing only as a reproduction. Like his other works, the painting "Reading" is filled with symbolism and metaphors. His works allow you to look into the souls of the people depicted on the canvas and feel their emotions. He masterfully conveys not only the external beauty, but also the inner world of his characters, making each portrait unique and inimitable.
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Vittorio Regianini "Reading" oil on canvas. Prev. 1890
The figures in his paintings seem to come to life, and their facial expressions evoke many feelings and emotions in the viewer. A distinctive feature of Vittorio Reggianini were the textures of fabrics, draperies, soft flowing fabrics that he conveyed through women's dresses, interior decor and upholstery. The painting "Reading" reflects the artist's interest in the themes of privacy and personal space, emphasizing the importance of intellectual and aesthetic pleasures in a person's life.
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Joseph Blanc "Perseus" 1869
On another wall are scenes from Greek mythology, reproductions of paintings made on silk and donated to the owners of Salajāņu Manor.
The first work is "Perseus" (1869) by the French academic artist Joseph Blanc (1846-1904).
The original painting, painted in oil on canvas, is kept in the Musée d'Orsay in Paris.
The canvas illustrates one of the most important myths of the ancient Greek epic - the feat of Perseus, who saved Andromeda.
The second reproduction, also made on silk, is a fragment of Noël-Nicolas Coypel's painting "the Abduction of Europa" (also called the Birth of Europe)
The presented fragment depicts the central moment of the myth - the god Jupiter in the form of a white bull takes Europa across the sea, accompanied by sea deities.
This episode, saturated with movement and sensuality, emphasizes the key idea of the painting - the power of passion and transformation.
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The work was created for a royal painting competition in France and has since become one of the most famous interpretations of the ancient myth. The canvas was in the collection of Joseph Bonaparte, Napoleon's brother, for a long time, and is now kept in the Philadelphia Museum of Art.
The reproduction of the highlighted fragment focuses the viewer's attention on the emotional core of the work - the view of Europe and the symbolism of its movement into the unknown.
Note how symbolic each detail is - it is impossible to examine this in such detail in the format of a single painting, so the highlighted and most important fragment is presented here.
Noël-Nicolas Coypel "The Abduction of Europa" 1727
On the right above Europe we see an angel (putti), who flies with outstretched arms and creates the feeling of a powerful air stream, as if tearing apart space. The hair, drapes and wings of the angels, as well as the movements of water and fabric near the figure of Europe - everything is directed to the right to the east, while the air streams from the putti blow into Europe, her developing canvas, and point to the west, the direction of the wind in painting is always not just symbolic but has great significance.
In the ancient and Christian tradition, the west often symbolizes the unknown, transition, sunset, that is, a change of states. This emphasizes the drama of the moment: Europe is leaving her world. The air stream enhances the illusion of flight, a whirlwind of passion, the intervention of divine forces.
According to ancient Greek mythology, Zeus in the guise of a white bull carries Europe from the Eastern Mediterranean (Phoenicia) to the west - to Crete, which in the context of the painting is interpreted as the movement of civilization.
Winds and angels in art often symbolize divine intervention or the inevitability of fate. Here the wind, like the "will of heaven", carries Europe into an irreversible future, where she becomes a symbol of a new world, culture, empires.
Many viewers ask why Europe is looking at an angel. In art, looks are always important, they create semantic connections, and look closely at the expression on Europe's face.
Europe's Face. Detail
Her face is confused, does not resist, but is not calm - this is not delight, but an anxious look at a higher power that interferes with her fate. Looking up - to the angel - is an allegory of the realization that everything that happens is beyond her control. She recognizes fate, but cannot change it. Her gaze connects her with the angel, making this moment not just a physical abduction, but a metaphysical act.
Although the author Coypel himself, Noel Nicolas is almost little known to the general public, he is one of the most honored painters of the French Rococo style. Academician of the Royal Academy of Painting and Sculpture (since 1720; associate member since 1716). A representative of a famous family of artists, he was the youngest son of Noël Coypel, half-brother of Antoine Coypel and uncle of Charles Coypel. Noël-Nicolas studied drawing and painting with his father, the "first painter of the king" Louis XIV and one of the main representatives of the "grand style" Noël Coypel. Having lost his father in 1707, the son continued to improve his style, studying ancient art and the works of artists of the High Renaissance.
His painting The Abduction of Europa, created in 1727, is his triumph of mythological painting - attention to detail, airy composition - gentle eroticism conveyed through color, light, and the movement of figures - characteristic of the Rococo era but with echoes of the Baroque.
The painting was commissioned by Louis XV for the Salon of 1727, a public exhibition at the Louvre (This is one of the most famous rooms of the Louvre, which was dedicated to art for a century. The room was designed by Louis XIV's architect, Louis Le Vau, who rebuilt this part of the Louvre after it was damaged by fire in 1661. It connects two important rooms in the palace: the Apollo Gallery and the Grande Galerie. After the Sun King moved his court to the Palace of Versailles in 1682, the Salon was taken over by the Royal Academy of Painting and Sculpture in 1692. Members of the Academy met there and exhibited their new works to the public. The Salon became one of the major events in Paris at the time, and to this day the term Salon continues to be used to refer to major exhibitions and fairs.) After its exhibition at the Salon of 1727, the painting Noël-Nicolas Coypel's "The Abduction of Europa" followed a path typical of 18th-century court art, but with a number of interesting twists. After the Salon, it was most likely acquired for the royal collection housed in the Bourbon palaces.
In the 18th century, it was common for successful Salon paintings to become the property of the court, especially if the subject and style suited the tastes of the royal family or favorites. After the Revolution, part of the royal collections were nationalized.
"The Abduction of Europa" also came under state guardianship and was inventoried as national property. The painting then disappeared from public view and was not documented, and only reappeared in the documents at the end of the 20th century, already in an American archive, and in 1978 was officially acquired by the Philadelphia Museum of Art, USA. The purchase was made with the help of the Edith H. Bell Foundation, and with the participation of John Cadwalader, Jr. and the Bullitt family (by exchange).
Thus, such a significant and mythologically one of the most expressive paintings "The Abduction of Europa" has come a long way and is now available for viewing in the form of a high-quality replica in the Philadelphia Museum of Art (the original painting is kept in a special archive) and a fragment of the painting printed on silk was donated to the owners of Silajāņu muiža by the Edith H. Bell Foundation as a token of gratitude and respect for the power in restoring the history of art. This hall of the estate is a living testimony to the rich history and refined taste of its owners. Each sculpture presented in this space was carefully selected by the owners of the estate, who purchased them in Italy and France. These works of art not only emphasize the elegance and cultural heritage of the region, but also reflect a deep respect for the traditions and art of ancient craftsmen.
The owners of the Apple Manor & Garden Complex (Silalāņi Manor), being restorers and artists themselves, put their whole soul into the preservation and renewal of these unique creations, giving them new life within the walls of this historical building.
Particular attention is drawn to the ancient pattern painted on the walls, which previously decorated the halls of the Silalāņi Manor. This pattern, executed with special care, adds a unique atmosphere and a connection with the past, redirecting the gaze to the era when the art and craftsmanship of restoration were an integral part of life. The space of the hall seems to embody the spirit of the times, and each element, from sculptures to decorative patterns on the walls, tells its own story, filled with tradition, art and love for heritage.
Confrenence (Tea room)
This room is like a journey through time, subtly divided into two cultural layers.
The right side is dedicated to the Elizabethan era - the time of theater, refined portraiture, lace and pearl austerity. Here you can feel the breath of the English Renaissance, when painting and costume became an expression of status, inner world and the grandeur of the royal court.
Portraits and decorative elements reflect the spirit of the era of Queen Elizabeth I - a time when art served as a mirror of power and intellect.
A fragment of the famous work by Hans Memling "Portrait of a Young Woman (Sibyl Sambeta)", created around 1480. This finest work of the Northern Renaissance, painted in oil on oak board, amazes with its restrained elegance and deep psychological expressiveness.
Memling, one of the leading Flemish masters of the 15th century, knew how to convey not only the external beauty, but also the inner world of his characters. His heroine is a collective image of the ideal of femininity of that era: chaste, noble and imbued with mystical calm. The placement of this fragment on the side dedicated to the Renaissance emphasizes the connection with the Italian and Northern Renaissance - a time when art became an integral part of the daily life of the educated class.
The fragment of the painting, namely the hands, was not chosen at random; very few viewers who are not art historians can correctly assess the semantic load of the hands in the painting by Hans Memling. Pay attention to the placement of the rings - on the phalanges of the fingers. It is now fashionable to wear rings on the phalanges of the fingers - this idea seems fresh and original. However, as often happens, many good ideas are well-forgotten old ones. The fashion for phalanx rings arose not for the first time, it was especially widespread in the Middle Ages. Wearing rings, including phalanx ones, emphasized the status of their owners. A rich person, thus, demonstrated that his hands are not busy with work - other people do it for him. Moreover, it is clearly visible that the rings are put on the phalanges of the fingers not by chance and not because they "did not fit" on other fingers. They are specially made for this purpose, which confirms the harmonious combination of the rings and their design. However, the designers themselves do not hide the fact that they draw inspiration from history. The original painting "Portrait of a Young Woman" is housed in the Memling Museum in Belgium.
Next, the owners of the estate placed a replica of the painting "Saint Cecilia" by Giovanni Battista Salvi da Sassoferrato. This replica was also chosen especially for the room (Saint Cecilia is the patroness of music, and the room itself is dedicated to the refined world of art, relaxation and beauty).
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Portrait of a Young Woman. Hans Memlilng. 1480
Fragment. Hands. Portrait of a Young Woman. Hans Memlilng. 1480
G.B. Salvi da Sassoferrato "Saint Cecilia". Oil on canva. P.b1685
Giovanni Battista Salvi da Sassoferrato. This exquisite image of the patroness of music seems to dissolve in the pinkish and cream tones of the walls, creating a sense of timelessness and spiritual depth. The light coming through the window, as if an extension of the light emanating from the canvas, softly illuminates the face of the saint, emphasizing her peaceful look and heavenly grace.
The painting takes up more than just a place on the wall - it becomes an altar of silence and peace, a reminder of the highest harmony, where art and faith are intertwined into one. In the interior of the room, you can catch references to the traditions of Italian Baroque and Catholic mysticism: mirrors reflecting light, muted velvet textures, graceful musical elements, as if indicating the invisible sound of the choir of angels, which Saint Cecilia herself may hear.
Sassoferrato, as he is often called after his birthplace, was a master of spiritual silence and reverent depiction of holy images. His style was strongly influenced by the masters of the High Renaissance, especially Raphael, and was distinguished by clarity of composition, purity of line and richness of color. In contrast to the dramatic Baroque of Rome, Sassoferrato’s painting is a world of peace, prayer and luminous meditation. Saint Cecilia, patroness of music and musicians, is depicted here with Sassoferrato’s typical soft grace and modest piety.
Her face is illuminated by an inner light, her eyes lowered in reverent contemplation or prayer.
This is not just a portrait of a saint, but an icon of spirituality and contemplation. The work is painted in oil on canvas, measuring 72 x 62 cm. The painting was acquired in 1966 and is part of the collection of the Museum of Fine Arts in Strasbourg.
Fragment. G.B. Salvi da Sassoferrato "Saint Cecilia". Oil on canva. P.b1685
The placement of a replica of this painting in this room was not chosen by chance - the painting attracts with its balanced rhythm, calm color scheme and amazing inner light emanating from the figure.
This work is not only an example of outstanding craftsmanship, but also a window into the world of Baroque sensibility, where holiness is conveyed not through drama, but through light, silence and peace.
Next to it is a replica of Charles Joseph Grips's Waiting for the Beloved (Karel Joseph Grips (1825-1920) was born in Grave, Netherlands. He studied at the Royal Academy of Fine Arts in Antwerp, specializing in genre painting, depicting interiors with women engaged in everyday activities. His work is distinguished by attention to detail, the use of chiaroscuro and perspective, reminiscent of the style of the Dutch masters of the 17th century).
This painting was also chosen for placement here for a reason, pay attention to the calm figure of a woman busy "preening" her figure in the play of light and shadow against the background of a light-flooded window intertwines with the painting "in the painting" where the figure of a girl with fabrics thrown back on her shoulders slightly refers to mischief in anticipation of a loved one.
The artist pays special attention to the details of the environment: furniture, textiles, decorative elements, creating an atmosphere of comfort and tranquility. Just as the tea room itself in which you are is a subtle interweaving of the art of theater and tranquility, so the painting reflects art and a calm, measured everyday life in lush interiors filled with details. It is worth noting that Charles Joseph Grips has several paintings that visually resemble "waiting for a loved one", but with variations in details and plots.
Charles Joseph Grip often depicted cozy interiors with women engaged in everyday activities, and often included cats in the compositions.
Charles Joseph Grips's “Waiting for the Beloved” 1894
Examples of similar works by Gripps:
"Playtime" This painting shows a woman in her kitchen with a cat. The interior, draperies and composition are reminiscent of the painting "waiting for the lover", but the scene is more lively.
Another of his paintings, "Opportunity Makes a Thief" (1875) This painting shows a maid sweeping the floor of a richly furnished room. Her gaze is downward and inquisitive, which makes the viewer question her intentions. The cat in the scene adds an element of mischief.
These works demonstrate how Grips varied compositions while maintaining a recognizable style and atmosphere. Note that S.D. Grips's paintings always have a single structural composition - the lightness of a woman's figure, highlighted drapery and some kind of "game element", for example a pet or a painting.
But it was in this Tea room at Apple Manor & Garden Complex owners chose to place the painting "Waiting for a Lover" because it best reflects the unhurried calm pose of a woman - look how free and easy she is in her pose - one hand resting on the windowsill, the other adjusting her hair - her home is full of peace and tranquility and at the same time luxury and playfulness.
"Opportunity Makes a Thief" (1875)
"Playtime" (1894)
Another replica - the portrait of Elizabeth of Austria, Queen of France, painted by Francois Clouet around 1571, is an outstanding example of French portraiture of the Renaissance.
Francois Clouet "Portrait of Elizabeth of Austria, Queen of France" approx. 1571
This replica was purchased from the Louvre Museum by the owners of the estate and placed in the Tea Room.
The Portrait of Elizabeth of Austria, like other paintings in the room, was not chosen by chance, because the room is dedicated to quiet rest, the history of costume, theater, music - and in this portrait, special attention is drawn to the richly decorated outfit with embroidery trim and, of course, the lace collar - note how detailed it is painted, how its sophistication and lightness are emphasized (given that the painting was made in 1571, which was unusual for this era for such detailing of fabrics).
Francois Clouet was known for his ability to accurately convey the facial features and character of his models. His work is distinguished by attention to detail, especially in the depiction of clothing and accessories. The Portrait of Elizabeth of Austria demonstrates these qualities: every detail, from the embroidery on the dress to the jewelry, is executed with high precision.It is interesting to note that Clouet may have used a preliminary drawing in black and red chalk as a basis for this painting. This demonstrates his meticulous approach to portraiture and his desire for accuracy. It is interesting to note that there are other versions of this portrait attributed to Clouet or his workshop. One of them is kept in the Condé Museum in Chantilly. This demonstrates the popularity of the image of Elizabeth of Austria at the time and the widespread practice of making copies of portraits of members of the royal family. This painting by François Clouet is in a private collection and is not available for public viewing.
The following is a replica of the painting by Gabriel Metsu, “Young Man Writing a Letter”, ca. 1662-1665.
As with the author Gabriel Metsu, who painted this picture Is in a pair with "a young woman reading a letter", in this room it is placed precisely in the format of conveying details and reflecting the general style and idea of the room - "a young man writing a letter" becomes an almost "living" participant in the room and the entire scene.
The young man may be writing a love letter. Perhaps a diplomatic one. Perhaps a confessional. We do not know...
This ambiguity makes the picture lively and close to the modern viewer, giving it constant relevance - especially in the era of text messages and digital intimacy. Pay special attention to the richness of the details - again the same lush draperies as in the painting by Charles Joseph Gripps "Waiting for the Beloved", again an unambiguous transfer of "paintings in a painting" because to the right of the young man there is another painting which depicts a landscape (and as you remember from the other hall, the placement of elements on the cardinal points is always symbolic) which means his thoughts are occupied with something light, gentle, airy, perhaps he dreams of love, while on the left behind the heavy bars against the background of the shadow there is a light globe which creates a reference to the fact that he is busy with something, some kind of concentrated work and the young man is very smart.
The painting was chosen not only as a decoration but also as a key to the inner content of the room - when art is a mirror of the power of intellect and beauty.
And the final chord is the interior painting. White predominates here, creating an atmosphere of light, almost ephemeral luxury.
This space is not limited to any specific historical style or artistic direction, but is a unique composition built on carefully selected elements that intertwine to create a special atmosphere.
In this interior, as in the Silajani manor, there is no strict connection to one time or artistic movement.
Here, antique sculptures, bas-reliefs, furniture and decorative elements come together to create something more than just a design concept. Each object seems to tell its own story, and together they form a holistic space where ancient elements of art meet luxury and theatricality.
Man Writing a Letter. Gabriël Metsu. ca. 1662-1665
An interesting element is the presence of a figure of a courtier, depicted as a black man, which adds another layer of significance.
This intentional image serves as a symbol of the mixture of cultures, wealth and diversity, and emphasizes the playful atmosphere in which art, theater and the splendor of life are intertwined with a sense of slowness and peace.
Pay attention to the left side.
The left side, on the contrary, refers us to the Italian Renaissance - the era of light, discoveries and human freedom. Here is a fragment of a carnival costume of that time, immersing us in the atmosphere of Venetian holidays, theatricality and sensual splendor.
The decor is filled with life, light luxury and a subtle play of cultural allusions.The center of the composition is a fragment of the fresco by Sandro Botticelli printed on silk - The Temptation of Christ (Italian: Tentaciones de Cristo) painted in the period 1480-1482. It is located in the Sistine Chapel on the north wall. Like other frescoes, it is located at a height of 10 meters from the floor and is a cycle of all frescoes dedicated to the life of Christ, in this fresco Sandro Botticelli deliberately hid the main figure - Christ, in fact, in the background, and secondary figures are brought to the foreground. The fresco fragment placed in this room in a modern interpretation is considered as a place that connects two completely different cultural eras: the Renaissance, when art was imbued with religious symbolism and philosophy, and the era of Elizabeth I, which valued theatricality, symbolism and refined aesthetics.
The interior reflects a deep harmony between ancient art and later cultural influences, creating a special atmosphere in which different historical layers meet.In the center of this double symphony is a mirrored tea table.
A large mirror, placed so as to reflect light and space, enhances the feeling of depth and airiness. It not only fills the room with radiance, but also creates the effect of a bourgeois salon - a place where people gathered for conversations, reflection and enjoyment of art.
This room reflects the essence of the entire estate - a weave of eras, cultures and aesthetics, united in one space, where the past becomes part of the living present.