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J’PAN has brought a splash of colour to grey October ✨️
They’ve teamed up with omm blat! on a vibrant new menu featuring banana mochi, castella cake with caramel and white chocolate, and candy matcha. So much for a gloomy autumn—it’s postponed (at least for now).
Order from the special menu and spend 4,000 or more to get an omm blat! lip balm charm. Which one you get is a surprise! 🤭🎉
Available at all J’PAN locations until November 5!
They’ve teamed up with omm blat! on a vibrant new menu featuring banana mochi, castella cake with caramel and white chocolate, and candy matcha. So much for a gloomy autumn—it’s postponed (at least for now).
Order from the special menu and spend 4,000 or more to get an omm blat! lip balm charm. Which one you get is a surprise! 🤭🎉
Available at all J’PAN locations until November 5!
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“Le Pont de l’Europe” — Gustave Caillebotte
Price: $160,000
Caillebotte sketched the bridge for hours, then arranged figures in his studio like a director. A photograph shows a man in a hat posing similarly to a figure in the painting.
The bridge spans the tracks at Gare Saint-Lazare, where six avenues named for European capitals met. An engineering marvel, it symbolized the industrial age.
The foreground figures’ identities are debated: the top-hatted man may be Caillebotte, and the woman beside him his acquaintance Anne-Marie Hagen. A worker leaning over the railing contrasts with the high-society flâneur, though they share the bridge.
First shown at the 1877 third Impressionist exhibition, when Caillebotte was 28, the painting reflects only part of his legacy. He was also a leading patron of the movement, supporting many Impressionists. After his death, his collection helped form France’s public Impressionist collection.
Visual threads
Price: $160,000
Caillebotte sketched the bridge for hours, then arranged figures in his studio like a director. A photograph shows a man in a hat posing similarly to a figure in the painting.
The bridge spans the tracks at Gare Saint-Lazare, where six avenues named for European capitals met. An engineering marvel, it symbolized the industrial age.
The foreground figures’ identities are debated: the top-hatted man may be Caillebotte, and the woman beside him his acquaintance Anne-Marie Hagen. A worker leaning over the railing contrasts with the high-society flâneur, though they share the bridge.
First shown at the 1877 third Impressionist exhibition, when Caillebotte was 28, the painting reflects only part of his legacy. He was also a leading patron of the movement, supporting many Impressionists. After his death, his collection helped form France’s public Impressionist collection.
Visual threads
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*The Red Vineyard at Arles* — Vincent van Gogh
Price: $3,750,000
Van Gogh is often said to have sold only one painting in his lifetime—and this was it. The story is simplified, but largely true.
In March 1890, four months before his death, the painting sold for 400 francs at an exhibition in Brussels. Its buyer was Belgian artist and collector Anna Boch, a member of Les XX and sister of Eugène Boch, Van Gogh’s friend, whose portrait he painted in Arles in 1888.
Van Gogh later sheepishly told his brother Theo that the Bochs had paid full price, though as friends they should have received a discount.
Anna kept the painting until 1907, when Moscow collector and textile manufacturer Ivan Morozov bought it for 30,000 francs—a sign of Van Gogh’s rapidly growing posthumous reputation. The Morozov collection was nationalized in 1918; in 1948, *The Red Vineyard* was transferred to Moscow’s Pushkin Museum, where it remains.
Visual threads
Price: $3,750,000
Van Gogh is often said to have sold only one painting in his lifetime—and this was it. The story is simplified, but largely true.
In March 1890, four months before his death, the painting sold for 400 francs at an exhibition in Brussels. Its buyer was Belgian artist and collector Anna Boch, a member of Les XX and sister of Eugène Boch, Van Gogh’s friend, whose portrait he painted in Arles in 1888.
Van Gogh later sheepishly told his brother Theo that the Bochs had paid full price, though as friends they should have received a discount.
Anna kept the painting until 1907, when Moscow collector and textile manufacturer Ivan Morozov bought it for 30,000 francs—a sign of Van Gogh’s rapidly growing posthumous reputation. The Morozov collection was nationalized in 1918; in 1948, *The Red Vineyard* was transferred to Moscow’s Pushkin Museum, where it remains.
Visual threads
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“I Didn’t Expect Him” — Ilya Repin
Repin worked on the painting from 1884 to 1888. After Pavel Tretyakov bought it, Repin secretly repainted the central figure’s face on the gallery wall three times. Curator Nikolai Mudrogel recalled that Repin asked for a ladder, put on a smock and claimed Tretyakov’s permission. Tretyakov returned furious: “The paintings are ruined! The paintings are lost!”
Repin transformed the figure’s character. In the 1884 version, the exiled revolutionary looked bold and resolute; later revisions made him uncertain how he’d be received after a long absence. Art historians noted a resemblance to Repin’s model, writer Vsevolod Garshin, who struggled with depression and died by suicide in 1888.
The returning exile was originally a young female student. Repin replaced her with a “prodigal son,” framing the drama around a biblical theme at the threshold.
Visual threads
Repin worked on the painting from 1884 to 1888. After Pavel Tretyakov bought it, Repin secretly repainted the central figure’s face on the gallery wall three times. Curator Nikolai Mudrogel recalled that Repin asked for a ladder, put on a smock and claimed Tretyakov’s permission. Tretyakov returned furious: “The paintings are ruined! The paintings are lost!”
Repin transformed the figure’s character. In the 1884 version, the exiled revolutionary looked bold and resolute; later revisions made him uncertain how he’d be received after a long absence. Art historians noted a resemblance to Repin’s model, writer Vsevolod Garshin, who struggled with depression and died by suicide in 1888.
The returning exile was originally a young female student. Repin replaced her with a “prodigal son,” framing the drama around a biblical theme at the threshold.
Visual threads
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“A Bar at the Folies-Bergère” — Édouard Manet
Price: $10,300,000
The woman behind the counter is Suzon, a real bartender at Paris’s Folies-Bergère cabaret. Manet brought her to his studio to pose with the bottles, oranges, and marble counter.
For nearly 150 years, art historians have debated the mirror behind her. Her reflection should appear directly behind her, but instead it’s shifted to show Suzon speaking with a man in a top hat. He isn’t pictured—you’re standing where he would be. Manet deliberately unsettled the perspective, inviting viewers to take the customer’s place at the bar.
Seriously ill while painting it, Manet struggled to walk. This was his last major work before his death. Suzon’s expression seems deeply sad: surrounded by noise, lights, and people, she appears elsewhere.
The painting hangs at London’s Courtauld Gallery, where visitors still puzzle over the mirror.
Visual threads
Price: $10,300,000
The woman behind the counter is Suzon, a real bartender at Paris’s Folies-Bergère cabaret. Manet brought her to his studio to pose with the bottles, oranges, and marble counter.
For nearly 150 years, art historians have debated the mirror behind her. Her reflection should appear directly behind her, but instead it’s shifted to show Suzon speaking with a man in a top hat. He isn’t pictured—you’re standing where he would be. Manet deliberately unsettled the perspective, inviting viewers to take the customer’s place at the bar.
Seriously ill while painting it, Manet struggled to walk. This was his last major work before his death. Suzon’s expression seems deeply sad: surrounded by noise, lights, and people, she appears elsewhere.
The painting hangs at London’s Courtauld Gallery, where visitors still puzzle over the mirror.
Visual threads
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Never scold your mother.
If she gets something wrong,
or says something you don’t agree with,
be grateful she’s still here
and raised you to be who you are.
If her slippers shuffle loudly,
if the door shuts with a little too much force,
it means she’s home and safe—
let her sigh, or even grumble.
If a glass slips from her hands,
don’t get upset. Go to her and say,
“It’s all right, Mom.”
CONTINUED IN THE PINNED POST.
If she gets something wrong,
or says something you don’t agree with,
be grateful she’s still here
and raised you to be who you are.
If her slippers shuffle loudly,
if the door shuts with a little too much force,
it means she’s home and safe—
let her sigh, or even grumble.
If a glass slips from her hands,
don’t get upset. Go to her and say,
“It’s all right, Mom.”
CONTINUED IN THE PINNED POST.
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“Ariccia near Rome,” 1836
Russian artist Mikhail Ivanovich Lebedev (1811–1837)
Oil on canvas; 54 × 44 cm
State Tretyakov Gallery, Moscow
Accustomed to the muted palette of the northern landscape, Lebedev was captivated by the vivid colors of the Apennine Peninsula.
A recurring motif in his Italian landscapes was a path winding beneath trees whose branches joined overhead, offering welcome shade and coolness.
Russian artist Mikhail Ivanovich Lebedev (1811–1837)
Oil on canvas; 54 × 44 cm
State Tretyakov Gallery, Moscow
Accustomed to the muted palette of the northern landscape, Lebedev was captivated by the vivid colors of the Apennine Peninsula.
A recurring motif in his Italian landscapes was a path winding beneath trees whose branches joined overhead, offering welcome shade and coolness.
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“Flaming June” — Frederic Leighton
After Leighton’s death in 1896, the painting faded from view as Victorian art fell out of fashion. It was rediscovered by chance in the early 1960s, nailed above a fireplace in a London house being demolished.
A famous story says young Andrew Lloyd Webber spotted it in a London shop and asked his grandmother for £50 to buy it. She refused, calling it “Victorian junk.” Puerto Rican industrialist and politician Luis Ferré eventually bought it for a modest sum. It now hangs in the museum he founded in Ponce, known as the “Mona Lisa of the Southern Hemisphere.”
An oleander blooms in the upper-right corner behind the sleeping woman. Beautiful but deadly poisonous, it may evoke the fragile boundary between sleep and death, a theme that fascinated the Victorians. Leighton also drew inspiration for her pose from Michelangelo’s sculpture *Night* in Florence’s Medici Chapel.
Visual threads
After Leighton’s death in 1896, the painting faded from view as Victorian art fell out of fashion. It was rediscovered by chance in the early 1960s, nailed above a fireplace in a London house being demolished.
A famous story says young Andrew Lloyd Webber spotted it in a London shop and asked his grandmother for £50 to buy it. She refused, calling it “Victorian junk.” Puerto Rican industrialist and politician Luis Ferré eventually bought it for a modest sum. It now hangs in the museum he founded in Ponce, known as the “Mona Lisa of the Southern Hemisphere.”
An oleander blooms in the upper-right corner behind the sleeping woman. Beautiful but deadly poisonous, it may evoke the fragile boundary between sleep and death, a theme that fascinated the Victorians. Leighton also drew inspiration for her pose from Michelangelo’s sculpture *Night* in Florence’s Medici Chapel.
Visual threads
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