Jean Claracq paints contemporary leisure scenes with the style, technique, and skill of a Renaissance master. His subjects are not religious or royal but do represent a kind of millennial nobility. The stylish young men who populate his oeuvre are Instagram influencers, whose posts the artist pilfers to create digital collages and, finally, meticulous oil-on-wood paintings. Claracq renders his subjects and their twenty-first-century accoutrements (smartphones, baseball caps, laptops, running shoes, sports cars) with great detail and without visible brushstrokes. In addition to referencing the

In the closing scene of Lars von Trier’s Melancholia (2011), sisters Justine and Claire (Kirsten Dunst and Charlotte Gainsbourg) sit inside a flimsy hut of leaning sticks with Claire’s young son. They’re taking shelter, they’ve told the boy, inside a “magic cave.” Wagner’s prelude to Tristan and Isolde crescendos as light from Melancholia, an approaching planet on course to destroy planet Earth, blazes behind them. Appropriating the title of Von Trier’s film for their latest exhibition, Florian and Michael Quistrebert used Melancholia as a “pretext to explore the psychological tension between