patteef

Patteef mixes fine arts with pop culture. All collages are made under 5 minutes, on an iPhone.

18/11/2025

Quiet, quiet, piggy.

Donald Trump after a female reporter asked him after the Jeffrey Epstein files

17/11/2025

🍒🐟

15/11/2025

❄️ ⬜️

15/11/2025

William Nii Nortey Dowuona
Franz von Matsh

A black figure wears a piece of cloth in a toga-like fashion, draped over his left shoulder and leaving the right one bare. Set against a simple clay-green background, he lacks contextual markers.

Austrian painter Franz von Matsch (1861-1942), was active in Vienna from the late 19th to the mid-20th century. Reflecting an era when Black representation in European art expanded alongside migration from Africa and Haiti, such works broke away from prevailing stereotypes.

In the 1870s, Franz von Matsch trained alongside Gustav Klimt and his brother Ernst at Vienna’s School of Applied Arts, all steeped in conservative academic traditions. After their studies, in 1883, the trio collaborated on public commissions until Gustav Klimt distanced himself from the traditional painting style. Favouring artistic innovation, Klimt’s art underwent a major shift in 1895, and two years later, he co-founded the Vienna Secession, one of the most avant-garde movements of the time.

Despite their diverging paths, Klimt and Matsch appear to have maintained a close relationship, as evidenced by their joint portrayal of the man in a toga. This enigmatic sitter is also the subject of one of Klimt’s paintings, which depicts him in three-quarter view. The portrait itself is shrouded in mystery, having last been seen in public at a 1928 retrospective marking the 10th anniversary of Klimt’s death.

14/11/2025

Soms zie je iets wat klopt… tot je beter kijkt.
Zoals deze ijsbeer in mijn collage. Maar ook hij is niet helemaal wat hij lijkt te zijn.

In 2016 werd mijn leven even stilgezet door het . Een aandoening die plots verschijnt, alles onderuit haalt, en daarna jarenlang blijft nazinderen. De eerste periode was pijnlijk, zwaar en vooral: zichtbaar. Beide armen functioneerden niet meer zoals ze moesten, en zelfs eenvoudige dagelijkse dingen werden uitdagingen.

Maar daarna werd het langzaam… onzichtbaar. De buitenkant herstelde, of dat leek toch zo. Mijn armen doen vandaag wat ze moeten doen, ik functioneer, ik lach, ik werk, ik maak collages. En tegelijk leef ik elke dag met restklachten, met zenuwpijn, met avonden waarop ik letterlijk in de zetel blijf liggen omdat het niet meer gaat. Alleen mijn gezin ziet dat deel. De rest ziet vooral het masker dat ik opzet.

En dat is oké. Maar het leert me ook: niet alles wat er goed uitziet, is ook goed. Niet alles wat je ziet, vertelt het hele verhaal.

Daarom draag ik dit jaar een heel warm hart toe.
Het thema — onzichtbaar ziek — raakt me diep. Zoveel mensen dragen iets mee dat niemand ziet. Zoveel verhalen die onder de oppervlakte blijven. Zoveel pijn die geen plaats krijgt.

Dus voor iedereen die elke dag doorgaat, ondanks wat niemand ziet:
Ik zie jullie.
En ik stuur warmte jullie kant op. 🖤

.be

Not everything is what it seems.
Just like the polar bear in my collage.

In 2016 I was hit by Parsonage–Turner Syndrome, a rare nerve disorder that affected both of my arms. The pain and paralysis were very visible in the beginning. But over time, as my body slowly recovered, the hardest part became the invisible side of it: the nerve damage, the daily pain, the exhaustion, the evenings when I simply can’t move anymore.

Most people don’t see that part. They see the pictures, the work, the jokes, the art.
But we all carry things that don’t show.

I’m sharing this today for everyone living with something invisible — physically or mentally.
You’re not alone. 🖤

Model video

12/11/2025

Glory Glory Man United

🔴⚫️⚪️

The Martyrdom of Saint Lawrence; (reverse) Giving Drink to the Thirsty

Master of the Acts of Mercy (Austrian, Salzburg, ca. 1465)

This panel was orginally part of an altarpiece to which two panels in the Städtisches Museum at Trier—Beheading of John the Baptist (with Harboring the Pilgrim on the reverse), and The Feast of Herod (with Feeding the Hungry on the reverse)—also belonged. When the altarpiece was closed, the Acts of Mercy could be seen while the opened altarpiece showed the gold-ground paintings with scenes from the life of John the Baptist and Saint Lawrence. Since the Acts of Mercy depicted in the art of this period commonly numbered six, three panels are probably missing from the wings of the altarpiece, one with the Baptism of Christ, and two other scenes from the life of Saint Lawrence. There is no indication of the contents of the central panel. An altarpiece by the same hand is in the Nonnberg at Salzburg, where this panel may also have been painted.

The aggressive realism and formal simplicity found here are characteristic of works made in Salzburg in the second half of the fifteenth century. Hatch marks to indicate shadows on Lawrence’s grill suggest that the artist was familiar with the techniques of engraving and woodcutting, newly discovered art forms which probably originated in the Upper Rhine region.

08/11/2025

The Farewell
James Tissot

James Tissot was obsessed with the choreography of small, private moments in public space. Not grand myth. Not gods. Not legends. Just the modern city — and the quiet, human theatre inside it. A kiss before the train leaves. Two lives caught in a fraction of a second, before distance starts. Victorian society was strict, coded, formal. But Tissot was always looking for these little cracks where intimacy leaked through. The umbrella hanging there like a paused gesture. The hand gripping the brass rail. The weight of fabric. The weight of time. Every tiny detail is a timestamp. A love scene squeezed between timetables and iron wheels.

I like how Tissot turns something ordinary — people travelling — into something emotional and cinematic. Almost like a still from a film that doesn’t exist yet. A film your brain completes by itself. Because everybody knows the feeling of a goodbye you don’t want to end.

07/11/2025

René Magritte - The Enchanted Domain [1953]

This work is the second in the eponymous series of eight canvases that Magritte painted to fulfil a commission from Gustave Nellens, owner of the seaside Casino Communal at Knokke-Le-Zoute in Belgium. He proposed this idea to Magritte in early 1953. Magritte had already created in 1951 a circular painting of clouds to adorn the ceiling of the small Théâtre des Galeries in Brussels. The commission at Knokke would be far grander in every way; Magritte’s designs would be replicated by professional painters as a panoramic mural on a monumental scale, which would indeed prove to be the largest of his career, including those he subsequently executed for the Palais des Beaux-Arts, Charleroi in 1956, and the Palais du Congrès, Brussels, in 1963.

04/11/2025

Mujer desnuda acostada
Joaquín Sorolla

Sorolla is mostly remembered for beach light. Children running across the white sand. Linen shirts glowing like milk in the sun. But he was also a master of interior quiet — moments where time collapses and the eye slows down. This painting is one of those moments. A body at rest, dissolving into fabric, turning into colour. Look how the sheets become pure brushstrokes, almost abstract, almost dream. Sorolla believed light revealed the soul more than line did. You see that here: the figure becomes a landscape. Skin becomes paint. Paint becomes atmosphere. There’s something cinematic in this stillness. Like the camera was forgotten on, recording someone simply existing. No performance. No pose. Just the weight of a human being, held by a bed, held by a room, held by this exact light. I love how painting can do that. Make an ordinary moment eternal.

Model .vie

29/10/2025

Portrait of a Young Man
by Pietro Rotari

Old light, new flame.
The quiet of a painted face meeting the warmth of a borrowed moment.

Model

29/10/2025

Gypsies. The Nap
by Rosario de Velasco

From Franco’s Spain to a tattooed timeline.
Same stillness, different skin.

What would she post if she lived now?

Model .nosferatu

27/10/2025

The Virgin and Child with Saint John and an Angel
by Sandro Botticelli

Botticelli’s calm meets the raw edge of now.
Sacred poses, inked skin — devotion reimagined in pixels and light.

How much has really changed in the way we worship?

Model fvsl

Adres

Antwerp
2050

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