What to do when you can't decide what to read in the patio? You take all of them with you.
At least, that's what Valen has done. He couldn't decide between Lives of The Great Artists, Art History's Fundamentals, The Artistic Story, and The Calvanian Museum of Art. Those were his first four books, all obtained within the same week when he was six.
He's flipping through the museum book. Published in 1985, every single piece shown in this book is still within those walls. The page he's checking out presents color photos of astrolabes, compasses, quilts, and music boxes that originated from the Ishtarian Empire.
It's a quaint day, not too sunny but not too cloudy, The temperature's a bit colder than normal for this time of year, but that's not a big deal. The Pokémon are chilling out with the crew in his backyard, Gardevoir's found trouble and she didn't have to look too hard. The cupcakes must be shared, her word is the law. It's not Luxray who's in trouble this time. Nah, Hilda's Emboar and Beartic have incurred her stare of doom.
Luxray and Typhlosion are right by his feet, taking turns to receive their pets. He's a master at petting and reading at the same time.
Several of the Pokémon are gawking at the garden gnomes of their species...except for Umbreon. Even the Luxray garden gnome can make her blush. Not far from Luxray's girlfriend, the five dragons are practicing a dance routine. Gengar's happily allowing them to use his portable television, but isn't that the dance craze that's been blowing up social media?
They're having a laugh about it, probably because Hilda's Garchomp just tripped into Rosa's Milotic. Salamence won't be laughing after that accidental kiss from Milotic-did Salamence just kiss her back without getting flustered?! What the...how the...wait a minute, this isn't new.
Rosa and Hilda trot out the back door, the words Pokémon Musical explaining everything. The former's wearing her stylish white jacket with the Team Skull logo on the back. Hilda's wearing the same jacket in grey. They both look so good wearing those. They're having a playful dispute over who's more awesome. It's time to state the obvious for the billionth time.
He rockets out of the chair. "Everything about you two is amazing!" He bends his elbows and forms fists. "I'm your number one fanboy-"
He slaps his mouth shut. Get a grip, you ding dong! This is why you have to endure that faulty hypothesis! They're pulling his cheeks, giggling at his flustered grunts. He needs to pretend that he's calm and collected about, but he's been defeated!
...Why are these two so unstoppable in the first place? He's well aware that his thought process isn't making any sense, but that's like saying the ocean is blue. Rosa and Hilda have no trouble throwing him into a whirlpool of nonsensical actions and thoughts. It's better to make zero sense than risk having a reaction that fuels the false notion that he's cute.
Rosa and Hilda wrap an arm each around Valen, making him spin with them. Their Draining Kiss attacks silences his dissent and makes him blush. They're enjoying his mystified expression but he should know the rules by now.
Rosa will be recording this time, she's already got her phone out. She enters the camera app and presses play, while Hilda uses her phone to play a smooth instrumental. Typhlosion and Luxray hop in front of them, they want in on the fun.
"I left my home and now I see a new horizon!" Hilda's right hand is in front of her mouth, her tone melodious and harmonic. "But one day I'll re-visit Nimbasaaa! I'll be back, I'll be back!"
"Yeah yeah yeah!" Rosa winks at their number one fanboy. "I'm on the road to become the greatest traineeeer!" Her melodious tone becomes high-pitched. "And I won't quit until I'm number oneeeeee! Gotta be number one! Number one, number one!"
Hilda jumps, her hands clasped over her right shoulder. "We keep on trying and then we try some moooore!" She winks at their favorite dork. "To say together and find a place wooooorth fighting fooooor!"
"We're on the rooooad!" Rosa and Hilda lean forward with a still mystified Valen. "We're on the road to smiles and glory! Meet our besties along the waaaay!"
Valen smirks and high fives both of them. Good ol' crazy wholesome minds, he thinks as he watches Rosa upload it. His Typhlosion and Luxray want more pets, ask and they shall receive.
"Comment on my new jacket, Val-Val!"
"Looks good on you, but two always look great." He winks and clicks a tooth. "Straight out of a Raphael painting."
"Tee-hee, you've got great taste!"
"Damn right I do." He snickers with a gleeful countenance. "Gimme the scoop for today."
"Hehe, Kris starts her apprenticeship today!" Hilda titters, her right palm obstructing her grin. "Silver just happened to feel like visiting the second largest art museum in the world!"
"Let me guess, you two also want to go to the museum?"
"That's our decree, Valey!"
"Sounds good to me." he shrugs. "Or maybe not, maybe I feel like being bad." he smirks. "You decide."
"Are you defying the queens?" Rosa and Hilda inch their faces closer. "Speak."
"Damn right I am." He shows off the Team Skull logo on the back of his leather jacket. "I'm a bad boy."
"Ooooh, you said you're a bad booooy." They flirtatiously tease, their tones melodious again. They grab his shirt's collar, their sultry gazes locked onto him. "Think you can take us, tough guy?"
"Don't test me."
Both wink and wag a finger, challenging, "If you call yourself a bad boy, then show us what you got!~"
The Pokémon are enjoying the banter, despite having no idea why they're talking so weird. However, the fun times nearly end when Gardevoir catches Luxray trying to hoard all the cupcakes. Her stare of doom is no joke, hence why Luxray's now hiding behind the garden gnome of his species.
A sea of locals and tourists flow behind Kris and Silver in the city's oldest district. The rumble of vehicle engines and the chirping of Pidgey add to the plethora of chatter and footsteps. Normally, Kris would be gushing about these Baroque buildings. This isn't just a piece of history, this was the seed that blossomed into the modern day megacity.
Not this time, because words aren't enough. She can't take her eyes off of the structure, nor can she stop herself from shaking. Over a million art pieces will now surround her on a regular basis. This is really happening…this is the museum that she's going to be apprenticing at.
She's an architecture and interior design gal too, she loves how the museum stayed true to the Baroque style. The giant dome atop the center roof, plus the double drum underneath it, are common elements of this style. Sculptures of Mew decorate the front center, front left corner, and front right corner of the building, a common trait of fancier Baroque buildings. Two buildings are attached on the left and right sides, they're smaller due to their flatter roofs. A smaller dome rests atop the extravagant front entrance. Lateral wings and cupola, as they're respectively called.
This building's an example of Kalosian Baroque, the royalty-like grandeur in its architectural style a dead giveaway. Those who study it must remember that the Baroque style have differences from region to region.
"Hey, you ok?" Silver asks with a hand on her right shoulder. "You're rarely quiet." It's not like he's worried or anything, nope.
"Yeah, I'm just taking all of this in." Kris sneaks her right hand over her heart. "Asking that was sweet of you."
Silver's body slightly jerks backward, his eyes widening and his fist clenched. "Uh...fine with me."
May as well check out their surroundings more. A flock of Starly perch atop one of many trees in front of the museum, they seem to be enjoying themselves. Here comes a few Staravia and a giant Staraptor that startles a few people. The museum's parking lot is packed like Kris's walk-in closet. Can't even walk into that thing without stepping on one of her fifteen pairs of footwear.
Oh for the love of Lugia, why is Kris drumming her hands on his right arm? Why the sudden change in demeanor? More importantly, why is it always him? Why can't she drum her hands on somebody else for a change?
"Isn't this museum super cool?!"
Silver tilts his head northwest, his hands in his pockets. He's not saying it was the aliens that brought him here, but it was definitely the aliens that brought him here.
What idiot would think that he actually ate lunch with Kris and went to this museum with her? Gladion doesn't count. King Edgethur had the nerve to imply that he's too nervous to cook a meal for her.
Kris bops Silver's forehead. "Say something, you nincompoop."
Silver rolls his eyes, grumbling, "I just HAPPENED to be in the area."
One palm on her forehead, the other on her hip. "Your lack of an answer proves that I'm waaay out of your league, buddy."
The only way he can fix this is by wearing that purple suit and going to a ballroom dance with her. That would be sooooo awesome and romantic! Classical music playing in the background, a totally realistic image of Silver taking her hand and entering like they own the place! Silver's also wearing a tuxedo for good measure, she's wearing an elegant dress from the early twentieth century.
"Good, I prefer it that way."
Noooo fair, he ruined her fantasy! Her arms are folded, her eyes are narrowed towards him, and her lower lip's puffed out. Why can't he be a gentleman for once?! She'll get too shy if she asks him directly!
"Humph, as if that's going to negate the L you just took." A flash of inspiration causes him to deviously grin. "If I'm out of your league, why are you here with me?"
Kris yelps, her face burning up. Her words come out a jumbled mess of murmurs. She clasps her hands behind her back, casually whistling like nothing just happened.
"You can dish it out but you can't take it, huh?"
"Shut up, nincompoop."
Murmurs about Le Moissonneur Noir's return to the contest stage are spreading among the other visitors, several pointing out that his mother's the director. Silver can't help but smile, but he looks away when Kris giggles. The banter causes a middle-aged woman to chuckle as she walks outside.
"Welcome to the Calvanian Museum of Art."
That authoritative voice is all too familiar to Silver. He smiles and waves, it's been a while since he's seen Valen's mother in person. Her shoulder-length black hair is tied in a ponytail, and her dark blue suit jacket and blouse attract the attention of Kris. Typical of her, even when it's the person she wants to be like.
"I don't want to wait any longer!"
Kris hops into the museum, giggling at how slow Silver's walking. She marvels at the sight of the opulent ornate walls, the powerful presence making it feel like a king lives here. Even the lobby's furniture is grandeur—they're among the original furniture from when this was a palace.
Look at how well the ornate patterns on the upholstery of the sofas and chairs, the frames finished in exaggerated decoration! The legs of every desk carry that same style of ornamentation. Can't forget the pedestal feet on all of the furniture! Definitely a proper Kalosian Baroque interior!
"Why don't you take a look around?" Professor Beauchêne-Barsotti raises a brow at Kris' uncertain expression. "Something wrong?"
"Um...professor...are you sure?" Kris sheepishly smiles, rubbing the back of her blue hair. "I'm sorry, I just thought I'd be working-"
"It's not work if it's fun." Professor Beauchêne-Barsotti chuckles. "That's what my grandfather likes to say."
"You mean Roberto Beauchêne?"
"That's correct, he's one hundred and four years old and still writing."
While Kris and Valen's mother talk, Silver ponders about Valen's great-grandpa. Valen describes him as a badass, and rightfully so. That man still writes and drives, not to mention he has distinguished careers as an art historian and a pro trainer.
"Aren't you going to say something?"
Since it's the professor who asked that, he will. Kris is watching him like a Talonflame because she can't handle the truth.
"Feel free to take her off my hands, Mrs. Barsotti." He shoves his hands into the pockets of his black pants. "Need a break."
"I'll try my best," she jokes. "But my husband and I know about you two already."
Kris and Silver show off their synchronized jaw-dropping routine. How do his parents know about-they're just friends. They're not blushing over that reason.
"Don't underestimate a mom who's on the 'gram."
Silver forgot what Kris now realizes: Valen's love for trolling came from his parents. It should be obvious they find each other annoying. Why would they date each other? That will never happen, not even in a million years.
Kris should take the professor up on that offer—to the Renaissance, Baroque, and Rococo sculptures she goes. It would take more than a few visits to fully examine everything, that's why she didn't get a chance to see these sculptures last time.
As she makes her way down the awe-inspiring collection, she muses about one in particular she wants to take a closer look at. Look at how many people are here, taking in the marvelous figures that range from kings to legendaries. It warms her heart to see art bringing people from all backgrounds together. That's the beauty of art.
There's a huge crowd of people surrounding the largest sculpture present, and it's easy to see why. That's the one she wanted to see the most. Her legs tremble as she enters the Bernini room and approaches the center, her eyes fixated on the achingly lovely piece. The power of this piece is like a Force Palm to the soul.
"It's...incredible...I've wanted to see the original for so long." Her body tingles all over, her eyes slightly watery. "And now I'm actually...seeing it up close...and personal...Gianluigi Bernini's masterpiece."
In their chats, Valen said that Bernini is his favorite sculptor. One look at this is enough of a reason why. No matter what angle she stares at, the emotional ump of The Anguish of King AZ is the same. It's coming alive in her mind, it's like she was actually there.
The drapery-like flow of the white marble used is smooth. AZ's incised eyes look like tears are about drip from them. The king's anguished stare and gaping mouth connect with the agonized stare of his sad Floette, who floats over his palms. Underneath AZ's feet is a small portion of a rocky graveyard of withered flowers. It's a symbol of how a devastating loss drove a generous king into a state of insanity and tyranny.
She can even imagine the king's anguished cry and the sorrow dripping from the eyes of both him and his Floette. How did Bernini do it? How did he make marble twist and dance in ways that defy the laws of nature? Not even even Michelangelo could could've done this.
Here comes Silver and the professor but they're not alone. Valen took his time getting here, but Rosa and Hilda did warn her that he can be a bit of a Slowbro. Why they didn't bop him into running faster is a mystery.
Valen approaches her with his right hand out. Without hesitation, she accepts the handshake and they briefly embrace. He loves hugs so why not thank him with one? Friends can hug each other too.
"Now I fully get where you're coming from." Kris closes her eyes and sweetly smiles. "Nobody but Gianluigi Bernini could've done this."
"Told ya so."
Looks like Valen and his mom have something they need to discuss. She'll let them be and return to marveling at additional pieces the Baroque's version of Michelangelo created, such as Salamence Atop a Rock and his version of Trainer.
"We've managed to make a good amount of space for Ancient Unova and Ancient Calvana within the classical art section," Professor Beauchêne-Barsotti tells her son. "The organization's been up to par with the other big museum but I wanted to raise the standard even higher."
"Need any help?" he asks. "You've still got a lot to put on display."
"You've already done a lot, honey."
Hilda and Rosa pat him on the back. He kisses them on the lips, then his attention turns towards Silver and and Kris.
Why does Silver seem a little bit hesitant to say anything? What's so confusing about Kris gushing over the second version of Michelangelo's Trainer? Has he never seen anyone gush over a wonderous work of art without the work directly in front of them? Trainer is a glorious rendition of the human form and a beautiful resurrection of classical antiquity, meticulously crafted for a patron beyond enthralled by the first.
He wants to check out the original Salamence Atop a Rock by Gianluigi Bernini-did Silver just admit that he doesn't know who Michelangelo Bellincioni is beyond the name? Yep, that's why Kris has her fists on her hips. She's glaring at Silver like he forgot the milk. He can't blame her, this ding dong seriously doesn't know about Michelangelo? That's not living under a Boldore, that's living under an alpha Golem.
Even Gladion knows who Michelangelo is. Freaking Gladion. Both are good friends of his, but Ding Dong #1 and Ding Dong #2 are why he started saying "y'all are stupid." He wanted to smack them countless times as a teenager—those two were so damn petty towards each other. That's why he preferred hanging out with Plumeria.
Kris and Rosa are now huddling, trying to keep their giggling subtle. Big tough Silver's going to be put to the test, and it won't be Rembrandt's Darkrai Lurking this time. …Does Silver even remember that Rembrandt is the most represented painter in the museum?
That flick to the back of his head can only mean one thing. About time she showed up but she was kicking a lot of asses in battle. Acceptable reason.
"Found you." Melanie winks with a teasing smile. "Thought you could escape me, hm?"
"You said that you were in the area." Valen shrugs, his grin lopsided. "You'd turn up eventually."
"Fair enough, it's more fun this way." Melanie pats Valen's back so hard that he's slightly pushed forward. "I'll be checking out the vintage poster collection on the third floor, but I'm coming over later."
"You're always welcome at the crib."
Kris is also welcome to come over, but he'll tell her that later. He's gotta wait until after she's done giving Silver a lecture on what a nincompoop he is but it's a lecture Silver had coming.
It's also rude to interrupt a great lady—Silver can't hide how much he loves having Kris around.
Baroque was the first art movement Valen learned about, so he likes to browse these works whenever he's in the area. It was the second art movement Rosa learned about, but it was the first she attempted to paint in the style of.
Among the four hundred and ten Baroque paintings housed here are works by all five titans: Domingo Velázquez, Marcantonio Matteo da Caravaggio, Rembrandt Aendriessen van Remis, Sir Patrick Pierre Rubens, and Neville Poussin. Each one has their own room among the one hundred and fifty rooms located in this structure. Room or corridor, the display location is moot. What matters is that the art can be seen by the millions who visit each year.
The two Wilfred Dobson portraits have been moved, they're now next to the portraits by his favorite Vlaandish painter, Sir Arnold van Dyck. He expected that because they came from the collection of Samuel Kors, Wallace's late grandpa. The museum was trying to figure out how to organize when he visited it with Rosa that day—they had recently acquired a sizable chunk of the collection.
He's had the pleasure of meeting Samuel at this museum before. He was a great connoisseur and collector who frequently loaned what he had for the greater good, a trait that his kids and grandkids inherited. Wallace's grandfather was nighty eight years old but it's still sad. A granduncle from his mom's side passed away at the same age, so it hit close to home.
The isles are packed with people but that's common. A couple of the visitors recognize. him, so he greets them with a wave and a smile. That's what his departed family members, both people and Pokémon, want. He can feel their spirits, they're always with him and his team.
The museum allows pictures without flash, meaning Rosa and Hilda already taking pictures. Two living Renaissance masterpieces surrounded by masterpieces. They've been noticed too, that's why they're combining waving with Agility. A few fans are joining them in the photos, as per usual. The older folk among the crowd look pleased, a few are whispering that it's great to see the younger generation into art. Several other visitors are relaxing in leather armchairs, which can be found in every aisle.
Rosa bops Valen's right cheek twice, that's all he needs to know where she wants to go. At one of the several right angles within this corridor, they walk into what was once a baby's bedroom. It's been the home of two large Velázquez paintings for over hundred and fifty years.
Specifically, Rosa wants to see Two New Trainers and Portrait of Doña Rosa de Loriguero y Çavallos. A gentleman like himself can't say no to a lady like her, plus he's a big fan of Velázquez, the leading Paldean Baroque artist. Faustino de Zurbarán's grim paintings of AZ mourning his Floette and AZ preparing to fire The Ultimate Weapon can also be found in this room.
From furniture with ornate decorations to dozens of classical sculptures, the opulent interior of King Jerónimo II's palace full display in Two New Trainers, which was painted in 1656. It depicts the king's grandson and granddaughter receiving their starters. In front of the former is a Sobble, while a Chespin held in the latter's arms. Two members of the royal court, both uncles, are present too. One carries a tray of food for the kids and their new friends, his Ursaring providing assistance. Another adjusts his fancy attire while advising the kids, his Alakazam meditating near his feet. The clothing consists of various doublets and dresses of the time.
Velázquez inserted his Nidoking, his Nidoqueen, and himself into the work. He's the figure with a thick mustache and black clothes standing to the furthest right of the king's grandchildren. Nidoking and Nidoqueen stand in front of him, their gazes darting towards the two starters. The light sources are three windows at the top right, center right, and bottom right respectively. These windows are only halfway visible, the light beaming down upon the occupants diagonally. Not only are they the closest to the viewer, but the light makes sure that the focus is on them. The rest of the background is dimmed in a style similar to Caravaggio.
Time for the portrait of the first champion to employ Velázquez as league painter. He also became a court painter for her brother, King Jerónimo II. Painted in 1624, the same style of background is present. The champ's wearing an elegant dark green dress, her serious gaze eye level with him. Her left hand grips the top of a wooden chair, and her Malamar smugly glares at the view while hovering in front of her right arm.
Rosa bops his left cheek twice, which means it's time for Caravaggio's work. Eleven different Caravaggio paintings are hanging on the walls of a former study. Out of this room they go, straight ahead is Ragulian Baroque.
Silver and Kris are already in the room and the former looks like that painting threw a brick at his emotions. He can't stop staring at AZ's Floette, like he wants to grab it and yank it to safety.
"This painting's brutal, and that's coming from me."
Kris rests a hand on Silver's shoulder. "I've felt the same way countless times."
Not even Silver can withstand the brunt of a Caravaggio. A Caravaggio utterly shreds your personal comfort zone, daring you to turn away from the raw bombardment it inflicts upon your emotions.
As a result, Caravaggio's The Battle of Geosenge has hit people in the feels since 1604. Unlike other paintings that depict this infamous clash, this one depicts the very moment Floette ran in-between the clashing armies.
An explosion of dramatic lighting bursts from the left, leading the viewer's eyes to the close-quarter, chaotic scene. The background of the work is enshrouded by complete darkness. Floette's tear-filled eyes peer into his soul, her mouth twisted in anguish. She narrowly avoids the spears and xiphoses in this sea of gleaming dark armor, splotches of a soldier's blood dripping onto the flower she's holding. She's caught in the middle of an inventible collision between an Aggron's Flash Cannon and a Rhyperior's Hyper Beam. It's like freeze-framing a movie milliseconds before a tragic moment.
On the left are five of AZ's men in a somewhat phalanx-like formation. Across from the are seven of Didicia's men in a similar formation, but more are implied to be lurking in the depths of darkness. One of the Didicians soldiers drags a wounded comrade out of the conflict, while a Tumulian soldier fights on while pinned down. Look at the popping veins in their eyes, look at the glares lusting for execution. How about those large scowls and the crushingly clenching teeth emitting hatred? They don't even bat an eye at the wild Yanma that's too injured to escape being caught up in a Magcargo's Overheat and an Electivire's Thunder, but a Machamp yanks it away just in time.
There are no heroes and there's no heroism. There is only the gritty brutality of warfare but it looks more like a street brawl tucked under the blanket of an ominous night sky.
"I use the phrase turn 'painting into theatre' a lot, but there's no better way to summarize the verisimilitude of Caravaggio's style."
"It's on the nose," Rosa adds, patting his back. "It's truly a Homeric or Shakespearean tragedy in painting form."
Hilda's eyes meet Floette's gaze. "I'm there, watching the chaos unfold."
Another chaotic moment is depicted in Caravaggio's The Usurping of King AZ. Same lighting, same background, but perhaps there is a hero here? General Adonis managed to save many lives from the corrupted king, but he felt that AZ had to be deposed for good.
The grandeur palace is being besieged by the rebel forces, the dramatic lighting encompassing the entirety of the palace's front grounds. The battle-hardened general and his legion have their xiphoses out, ready to slaughter the king for the sake of their people. The general's Pangoro dispatches AZ's guards with ease, tossing them like ragdolls. One can easily imagine hearing terrified screams from their gaping mouths. Another legion, led by Cyrillus and Tecton, clashes with more guards on the furthest left end of the front grounds.
Near the bottom right corner of the canvas is the king himself. Once a generous king who ruled over the most powerful empire, AZ's descent into tyranny has relegated him to a man wearing raggedly clothes. Tecton's Talonflame and Cyrillius' Hitmonchan are the closest in location to him but they're too busy dispatching the relentless guards to notice the suspicious character.
"Nobody depicted the brutality of ancient history's most infamous string of events better than Caravaggio," Rosa comments, her eyes unable to move away from General Adonis' grim expression. "He's not proud of his actions, neither is Cyrillus nor Tecton."
Far less chaotic but far more mysterious is Caravaggio's The Calling of Pokémon Battles. Instead of an arena or a grassy area, the setting's a dark tavern within Siscia City. The dramatic lighting here enters through the window in a diagonal angle, but a good portion of it is blocked by the shutter. The rest of the light bounces off of a wooden table's surface.
On the furthest right is a scowling trainer with a Haxorus, the robe over his head obscuring most of his eyes. The darkened background obstructs most of his figure but the way his head's tilted indicates direct eye contact with the sitting trainer he's pointing to. That trainer's pointing to himself with a stern expression, as if to say "you've got the nerve to challenge me?"
The two boys in front of the trainer are dressed in black and white linen shirts respectively. The boy closer to the viewer leans forward with an eager expression, the other boy leans backward with a startled expression, and the two older men behind the trainer the back count coins. Or so it seem—a closer look will reveal that the older men are nervously watching the sitting trainer's Hydreigon. The three-headed dragon's tucked away behind the chairs but the soul-piercing glares of both dragons are eye level to the viewer.
"Who do you think would've won?" Hilda asks. "Those dragons look tough."
"I, the cutest and prettiest Unovan trainer, has a Hydreigon." Rosa crosses her arms and tilts her head back. "What do you think, Expert Noob Hilda?"
Hilda waves her hand in a playful, dismissive manner. "Girl please, you can't top me."
"The correct answer is both," Valen adds. "Fair?"
"If it makes you happy, then yes." Rosa and Hilda bop his forehead. "We're The Unovan Queens after all."
Crazy wholesome minds, always being the brightest stars in the sky. Back to Caravaggio they go.
Painted in 1594, Hoopa and The Cardsharp is one of the artist's earlier works. Two young guys are sitting and playing a card game. An older man with a Slowking eyes the hand of the card player further away from the viewer. He's rubbing his beard as he cocks his brow, his forehead wrinkled. Said player wears a musketeer hat and a green shirt, he's taunting his opponent with a smug grin. His Haunter mimics his facial expression.
The card player closest to the viewer has his back turned, and he's donning a gold doublet and blue shirt. A devious Hoopa's hovering closely but discreetly, it's sliding two playing cards into his pocket. With a scowl on his face and his eyes narrowed, the player reaches into his pocket for the cards.
Right of that work is another early work, Meloetta and The Four Musicians. Painted in 1595, it's the only Caravaggio depicting happiness in any form. Three of the boys are content with their situation as they playing a lute, a lyre, and a harp. The fourth boy's the closest to the viewer and he's facing away. He's holding a paper with what's presumably the song lyrics. Two Meloetta, one Aria Forme and one Pirouette form, dance in-between the four. The room's pretty cramped, but they don't seem to mind. The light highlights the faces of the four boys and the full figures of both Meloetta.
Time for The Raging Sea, The Rumbling Land, and The Roaring Sky. These were painted in the year 1611. the light and shadow varying between the three. All three have the same darkened backgrounds as The Battle of Geosenge, The Usurping of King AZ, and The Calling of Pokémon Battles.
The Raging Sea contains the least amount of light, which is fitting for the setting. The murphy depths of the raging ocean provide a cloak for the titan of the oceans. Its glare emits anger, it looks ready to sink its sharp fans into any opponent, and it's positioned right in the viewer's face. Its shadow is reflected off of several bubbles, protrudes deeper into the unknown.
Lava oozes and bubbles like slime in The Rumbling Land, it's the source of the light that illuminates Groudon within this cavern. This painting uses the most light of the three, Groudon's shadow blending in with the background. The focus is the dimmest at Groudon's feet, but it brightens up until it reaches the giant's intimidating glare and clenched teeth, which is clear as day. Groudon's looking down with its arms extended sideways, its palms fully facing the viewer.
Even though The Roaring Sky does contain sunlight, giant gray clouds heavily conceal most of it to keep the tenebrism. Despite being in the middle, the light usage's closer to The Raging Sea. Rayquaza's shadow appears on several of the clouds. Its menacing, narrowed eyes are eye level to any adult of average height, its jaw wide open. It's like he can hear the dragon roaring. Hopefully, it's secretly a nice roar and Rayquaza just wants some cupcakes.
Hilda's got prints of these three in the agency's main headquarters. Groudon's her favorite one, her summary of it being "come at me, bro."
Kris and Rosa are huddling with Hilda. Guess it's time to lay the trap. He clearly doesn't know about any of this, so Silver shouldn't ask him anything. He wants in on this, so he taps Silver's right shoulder.
"I already know." Silver holds his head up high, smugly closing his eyes. "Watch this."
His hands are in his pockets as he strolls past Kris. It's time to impress her, let's see what this-what the fuck is going on in that painting?!
Silver's face resembles that of the terrified boy depicted in the artwork. Since when does casually having fruit and wine result in somebody having Kadabra hands?! Why does his head look half-human and half-Kadabra?! Why does the background have to be so ominously dark, why is all of the light focused on the mutating guy?! It's like he's actually there, witnessing this horrifying transformation with his own two eyes!
"Caravaggio's Boy Turning Into Kadabra." Kris sneaks a hand behind her to high five Rosa. "Your new favorite, I presume?"
Silver groans like the world's grumpiest Slaking. "Don't be a wiseass—I was just pretending to be scared."
His attempt to look away results in a jolt, his jaw-dropping again. Oh for the love of Lugia, those Caravaggio paintings of Kyogre, Groudon, and Rayquaza are here too. Those are absolutely terrifying—he's actually visualizing them coming towards him! He'd rather not be in the same room with any of those three!
"Surprise, nincompoop." Kris places her hands on her hips, her grin smug and her eyes narrowed. "I knew you forgot."
"Roar, Kris used Encore." Rosa giggles, leaning towards Silver. "Come on, impress your crush."
Hilda mimics Rosa's gesture on the other side. "The BW Agency's organized a few weddings in the past."
Tee-hee, big tough Silver's trying to shield his blushing, and bad boy Valey's casually walking out of the room!
"I'll be on the other end, kay sweetie?" Rosa sweetly smiles, pointing behind her. "I want to check out the Rubens and Poussin paintings."
Oooh, no words! Just looking back and raising a hand to acknowledge her words, such a baaad booooy!
If Sliver wants to ask Valey about their glorious trick, he must venture further right to the Jasper Vermeer paintings! That means standing across from the room that houses the original Gengar on the Prowl and Darkrai Lurking by Rembrandt Aendriessen van Remis!
Valen halts and looks back with a devious grin. "Have fun with your girlfriend, Silver."
Rosa and Hilda cover their mouths, their cheeks puffing out with contained laughter. One look at Kris and Silver says it all, they refuse to acknowledge the other's presence.
Hilda rapidly strolls toward him, but he intentionally doesn't stop. The ensuing cheek bops are deserved, but he'll give her a noogie in retaliation soon enough. They acknowledge works by other Baroque artists, such as Salvatore Rosa, Agostina Gentileschi, Catherine Peeters, and Jorien van Ruisdael.
And there's the Rembrandt room. Will the ladies introduce Silver to Tundra in Darkness, Misfortune Forest, or March of the Banette next? Those three paintings are what Hilda's checking out. That mischievous smile indicates their minds are synchronized.
Eighteen Rembrandt paintings lurk within that former guest room's walls, and half of them are feature the artist's signature, eerie style of Pokémon portraiture or landscapes with Pokémon. Most of the eighteen came from the collection of Bartholomew S. Stone, one of the nineteenth-century's most famous trainers. That's where half of the fourteen works by Rubens came from too.
He'll check out the Vermeer paintings, which are a rare sight. Less than fifty authentic works are known to survive, and the five in the museum's collection are the only ones in Calvana. At least, they're the only ones that have been confirmed. Art historians have been on the prowl for Vermeer's Woman with a Boltund and Caravaggio's Descent Into Insanity, both rumored to be stashed somewhere in Angel City.
First up is Man and Woman with an Eevee from 1665. The name speaks for itself, a young man's cutting fruit for an Eevee sitting on its hind legs. A young woman's placing a bowl of milk in front of the grinning Pokémon. There's a window that can barely be made out, the light bouncing off of the edge of the wooden, table and the Eevee. A large jug's positioned further away on the table, the top lining up with the painting's midpoint.
Next up is View of Delftstad from 1600. Vermeer captured the Gothic architecture around the city's harborside with a magnificent level of realism. Everything from the ornate decorations with Druddigon reliefs and sculptures to pointed arches was carefully added to each building. The city's large arena is smack dab in the middle, the giant stained-glass windows depicted so intricately that they've got the exact patterns. The rising sun, the buildings, and the thick puffy clouds are reflected in the sparkling water, as are various boats and several Lapras.
Closest to the view is a glimpse of the quaint countryside, the foliage seemingly dancing in the wind. A few people and a herd of Galarian Ponyta are scattered within it, their gazes fixated on the city that lies across the waterway separating the area.
The Astronomer and an Alakazam, plus The Geographer and a Gallade, were loaned out for an exhibition in the Alkmaardam region. Last, but definitely not least, is Trainer with a Pearl Earring. This is Vermeer's most famous work.
His eyes meet the gaze of the girl depicted in the work. She's standing sideways with her head turned. Her lips are parted halfway and her expression's one of calm and curiosity. There's definitely an aura of confidence to her as well. The Glaceon earrings gleam like stars, and their details were captured perfectly. There's a smiling Eevee sitting atop her head, and the background's pitch black.
Fond memories of learning about Vermeer flood Valen's mind. His late granduncle was a leading expert on the artist's work. His late granduncle was a film director and a big fan of the artist. Dedicating his essay on Vermeer to their memory was the right thing to do.
After the Alkmaardian Golden Age works, a large lounge area that's packed with seating and tables greets him and the balls of fluff. There's quite the crowd as well, but that's normal for one of most-visited museums in the world.
Kris is with his mother and Silver's on the second floor. Melanie's checking out the gift shop. That leaves him, the crazy wholesome minds, and another ocean of paintings. A docent's leading a group straight ahead and to the right, disappearing into the Classicism, Romanticism, and Realism section. A second one's leading people into the section left of that, and that's where the Impressionist and Post-Impressionist works lie.
The lounge itself is where most of the Rococo paintings are displayed, but Rococo rose from the Baroque. Baroque originated in Ragulia, while the Rococo originated in Kalos. Both regions, plus Galar are represented here. A number of visitors are in awe of the landscapes by Theodore Gainsborough and Gianni Canaletto, while others admire Gainsborough's elegant portraiture and Jacques Watteau's theatrical scenes.
The next destination for him and the crazy wholesome minds are the corridors and rooms housing the Renaissance & Mannerism paintings. All they need to do is walk straight ahead and over three hundred from the 1300s, 1400s and 1500s await. As per the norm, they have to be selective.
On one side of the Renaissance corridor is a room where two portraits of King Mordred VIII greet those who enter, courtesy of Heinrich Holbein the Younger. In the adjacent room. the greetings are from Jorgel van Eyck's Portrait of Gerent van Bruge and The Glory of Ghentstad. A third van Eyck painting, Madonna Xerneas, is currently on loan.
"You lead the way, sweetie."
"I'd like to start with start with Holbein's most famous work," he tells Rosa and Hilda. "The second of four portraits of King Mordred VIII, painted in 1537."
Walking into the former music room immediately places Rosa, Hilda, and him in view of the towering portrait. Two Dürer works and a Grünewald triptych accompany the Holbein portraits, the subjects of the first three being related to AZ.
Mordred, a man who amassed a gathering of uniquely colored Pokémon, has an alternative colored Dragapult hovering above his head. The smirking king relaxes in a lavish, grandeur throne with gold marquetry. He's wearing an intricate doublet finished in dark red, greeting the viewer with his bearded chin up high and his smile crooked in a smug fashion. Holbein's unfaltering and careful precision resulted in a depiction so vivid that you can feel the king's intimidating presence.
The second portrait of Modred VII, painted in 1522, depicts the king when he was in his early teens. Two notable differences is the lack of a beard and a more "childlike" face. Here, he's donning knight's armor and is riding atop an Arcanine. The sunlight directly beans down on his head, reflecting off of his armor.
"Tudor Galar was something else." Hilda's loved learning about world history and cultures ever since childhood. "I remember asking mom all about it while she was researching the king's sister."
"We should watch that movie again," Rosa proclaims with her eyes on Valen. "Maybe big boy over her should get me one of those gowns."
Valen blinks. "You have twelve and you haven't worn any of them in a while."
"I'll bring them out soon enough." Rosa winks and blows a kiss. "Historical films and plays are what I want to star in."
"Is that even safe when you're so gorgeous and adorable?"
"Don't make me blush in here, silly sweetie."
"Hehe, Val-Val knows how to get us."
Rosa and Hilda want to study the other two Holbein works, Portrait of Sir Endymion Beckett and Portrait of Jacob Cromwell. Valen heads to the adjacent room to check out the Jorgel van Eyck paintings but not before nodding towards Dürer's The Battle of Geosenge. It's a display of the infamous conflict that leaves you in awe but unlike the later depiction by Caravaggio, it stays behind the barrier.
The museum displays The Glory of Ghentstad with the wings open, and it's only one present that's a polyptych oil painting. Jorgel van Eyck painted two versions of this multi-panel painting, the first one's still in Ghentstad. These works have multiple panels and were almost exclusively reserved for major people, Legendary and Mythical Pokémon. That being said , other Pokémon and humans frequently appear in them.
The wide, rectangular panel in the center of the bottom row depicts a battle between Zacian and Zamazenta, the setting a lush grassy field. It's a friendly battle, as evident by their calm and collected expressions. When the polyptych is closed, it forms a scene of Zacian and Zamazenta overlooking villages from atop a cliff. The wings are slightly angled so the visitors can see this exterior detail.
The three tall, semi-arched panels contain three different images of Geret van Bruge's rival, Bertelmeeus van Ghent. From left to right, the depictions are of him in his late twenties, his mid-forties, and his early sixties. His clothes are the same in each: an ultramarine robe and a dark red chaperon. In two of them, his Inteleon's leaning against a wall behind him. In the center one, his Inteleon's riding his Latios. Each of the other panels are tall rectangles, all consisting of a prominent local trainer from the aforementioned city at the time. The elegant figure of Xerneas stands proudly in the background of each one.
Onto Portrait of Geret van Bruge from 1432. Atmospheric perspective is present—the furthest points from the viewer is blurry with weaker colors. The light's strongest under the chandelier, with additional bright spots indicating unseen sources. The legendary trainer's posture is straight and his face has a stern, unamused expression. A green robe is draped around him and he's got a matching summer hat. His Gardevoir and Gallade sit on red chairs to his right and left, his Arcanine near his feet. The reflections of van Bruge and his Pokémon can be seen within an ornate convex mirror.
The exceptional details, vivid realism, and "perfecting" the medium of oil painting makes van Eyck's work so influential to this day. This artist is why oil painting's been so popular and common for centuries.
Time for Raphael's The Ultimate Weapon and other works by the High Renaissance legend. Their slowly pace themselves down the slightly twisting corridor, eyeing works within each room they pass and the works on the corridor's walls. Just outside of the room with the fourteen Titian works is a lone Giorgione, a truly rare sight indeed. Not too far ahead are are four Ragulian paintings from the 1300s.
Once they pass and acknowledge works by other great artists, the large canvas comes into their direct line of sight. It's the biggest work in what was once a dining room. Ten additional Raphael paintings hang next to it, five to the left and five to the right.
Painted in the year 1502, the stupendously detailed scene is presented with a unsurpassed vividness that never ceases to get people in their feelings. Even amongst this gorgeous sea of imagery, it's not hard to see why The Ultimate Weapon is among Raphael's finest work.
The crystalline weapon pierces the blood-red sky, an ominous white beam slicing it in half. Xerneas can't bring itself to look up, the horrific sight of the desolate land is too much for the teary-eyed gazelle. A lively forest once stood here, all that's left are splotches of foliage and the decaying remains of trees. The details are so intricate that one can see the spots where Xerneas's tears have soaked the ground. Yveltal's up in the sky, the avian's eyes are narrowed and its mouth is gaping in horror. The front ends of its wings are facing Xerneas, does it desire to comfort it?
They can see the ruins of a town in the distance. Every single building is in tatters, some even shattered altogether. Besides the two legendaries, there isn't a single life form anywhere else in the painting. All gone, all lost, all due to a tragic loss in warfare.
Raphael was only twenty at the time but he stunned everybody. Pietro Vasari, author of the monumental Lives of The Great Artists, wrote that King Gianfrancesco VII and his guards "could not help but weep as they marveled at the grandeur and the minutiae. Raphael had imposed the beauty of his vivid artistic capabilities upon the ugliness of antiquity's deadliest calamity."
Eyewitness accounts backed Vasari's words up and millions have been hit in the feels ever since. Mom once told him that the most frequently question is "where is Raphael's The Ultimate Weapon?"
Rosa and Hilda want to take a look at Raphael's The Disputation of Animosity. They absolutely adore how it depicts Yveltal and Xerneas snuggling together like Eevee. The name was chosen to counter any notion of a bitter rivalry between the two. Next to it is Raphael's take on Xerneas kissing Yveltal's head, the most famous depiction of an iconic moment of classic literature.
All three of these works are major reasons why five centuries later, Raphael constantly ranks as the world's most beloved artist.
They didn't need to wait for him, but that's typical of Rosa and Hilda. Hilda's now gawking at Luigi Lotto's The Fabulous Umbreon. The gleeful Dark-type in that work is depicted trekking a hilly landscape, decked out in the finest jewelry of the era. Considering the fact that the other Pokémon in the painting are staring in awe, perhaps she's trying to help her own Umbreon another way to impress his Luxray.
Raphael's one of the three titans of the High Renaissance—Michelangelo and Leonardo also grace this room. Rosa's studying about the Michelangelo's The Creation of the Dragons, whereas Hilda's focused on Leonardo's Pokémon in Nature.
This will be it for the day, but they'll come back soon enough. If one has a passion for art, then one does not simply visit this museum once in a while.
Did you like the painting descriptions? Which one was your favorite? I feel that Identity and Rosa's Renaissance had good painting descriptions, but I think they've gotten even better in this fic.
What's your take on the Pokémon interactions so far? How about the worldbuilding and lore? Who won the banter battle between Silver and Kris in the second scene?
I've read that the number of Diego Velázquez paintings clock in at 110 to 120, but a book I have goes higher. The book does contain workshop paintings, lost originals, and unfinished paintings. The 110 to 120 probably means the works that he did all by himself. Compare that to about 300 by Rembrandt van Rijn and nearly 400 for Sir Peter Paul Rubens. Two New Trainers was inspired Velázquez's most famous work, Las Meninas. He was a court painter. The second painting was inspired by the painting Doña Antonia de Ipeñarrieta and Her Son Don Luis.
The inspiration for The Calling of Pokemon Battles was Michelangelo Merisi da Caravaggio's The Calling of St. Matthew. It's become my my favorite Caravaggio painting. Caravaggio chose to show less of Christ as he points at Matthew, who's pointing at himself. Boy Turning Into Kadabra was inspired by Boy Bitten By a Lizard and the Pokédex entries. The Cardsharps and The Musicians inspired the Hoopa and Meloetta paintings.
If you want to learn more about the real Caravaggio, I'd recommend watching a documentary called Power of Art: Caravaggio. The "street brawl" comparison stems from the said documentary. The host, Simon Schama, describes The Martyrdom of Saint Matthew as an assault in a back alley. Great Art Explained posted an excellent video on The Taking of Christ. Caravaggio: Master of Light by Nerdwriter1 is also a good choice.
For books, Caravaggio by Howard Hibbard, Caravaggio by John T. Spike, Caravaggio: A Life Sacred and Profane by Andrew Graham-Dixon and Caravaggio: The Complete Works 40th Edition by Sebastian Schütze are great ones. Another good one is The Lost Painting by Johnathan Carr, which tells the story about how Caravaggio's The Taking of Christ was rediscovered. (The 40th refers to TASCHEN's 40th anniversary).
It took over two centuries for Johannes Vermeer to achieve a much bigger status, but he wasn't as unknown and underappreciated as one may think. Delft was his hometown, and View of Delft is a lovely piece of landscape painting.
Jan van Eyck didn't invent oil painting, but he was very influential in making it popular.
Hans Holbein the Younger was court painter to Henry VIII.