Tel Aviv Museum of Art.
Excellent collection. Relatively small, but not small either. To me, that's the perfect size. Lots of catchy names. Each name is represented by a few, but, as a rule, very successful works. The pleasure of visiting is enormous. This is a place where you can come back and come back. A fine building, almost ideal for such a meeting. And everything would be fine, but a fly in the ointment did not pass even this barrel of honey. The light is such that even a little strange. Not that unsuccessful in places or careless, but simply a failure. Some yellow. Not warm, just yellow. All glasses covering paintings and drawings obediently shine and reflect everything that can only be reflected. Every single piece of glass. Due to this, some works by Degas and Toulouse-Lautrec, for example, cannot be considered properly at all. Take pictures too, of course. The dissonance of a modern building and a high-quality collection with such lighting is surprising.
I am aware that this eternal grumbling of mine about the world may seem from the outside to be some kind of senile grumbling and nit-picking. And I would agree with such an assessment and would shut up if there were not already such a large number of galleries around and next to them with different lighting standards. There are already a lot of museums and galleries with good or excellent light. I think that in Europe at least 50 percent of the total number of at least large and significant meetings. And that means everything is possible.
Bad light is not just a hindrance in communicating with works of art, it is often an insurmountable barrier in general. We look, but we see not quite or not at all what is, what was created with such labor and talent, which means that we do not see what we can see. And as a result, we fix something distorted in the head, and therefore inaccurate, incorrect. It is important. For those who are obsessed with art, for those who live in art, it is fundamentally important.
Tel Aviv Museum of Art, Photo Dan Daniel