In this, her debut book, Harvard graduate Rachel Cohen weaves a literary tapestry encompassing the lives of 30 of America’s great writers, photographers and artists, into 36 distinct chapters. Part biography, part flight-of-fancy speculation, Cohen’s final product, complete with references, source material, and footnotes was 10 years in the making.
“The book is a conversation about freedom that seeks to inspire the reader to think for themselves about what freedom means to them.”
Museums are designed – and public museums are mandated – to act as the stewards of the nation’s or a city’s heritage. The New York Public Library failed dismally in this respect, a failure only eclipsed by the National Gallery, which quite frankly is serving as the bagman for the theft of public art treasures from New York City and Philadelphia.
The overall sensation evoked by examining the works on display in “Cezanne to Picasso,” however, is one of awe at his grasp and appreciation of the creative talent of artists spurned, at least initially, by the rest of the art world.
Clark’s The Nude: A Study of Ideal Art received glowing reviews upon its publication in 1956. Among its many virtues, The Nude reasserted the primacy of classical art in the Western world during the dark, drab Cold War era. America’s Abstract Expressionism confronted Soviet Socialist Realism in a long, drawn-out propaganda campaign. Clark showed that there was an alternative to such cultural brinksmanship. Art lovers, tired of ideology, were greatly pleased.
So many amateur painters have painted the swelling volumes of the church of San Francisco de Asis at Ranchos de Taos, and so many tourists have admired the blue skies and bold colors of northern New Mexico that these things threaten to become visual clichés. One of the virtues of this show’s wealth of katsina images is that they not only highlight what made O’Keeffe’s work distinctive, they also remind us of her place in the larger narrative of twentieth-century American art.
And what is true of Blagdon’s poignant attempt to thwart illness and disease is true of the other artists’ work. Outsider Art is not an attempt to evade life but to engage with it, to deal with sorrow, sickness and poverty by affirmations of beauty.
The Pre-Raphaelites shared several treasured ideals, but their painting styles varied greatly. The two transcendent themes, especially in their early work, were “truth to nature” and the power of religious faith. They aimed to depict the natural world with great fidelity, while evoking spiritual values as medieval artists had done.
Portraits at the Stock Exchange reveals a truth about the age of the Impressionists that often goes unobserved. This period in French history was an age of acute anxiety. It was far from being an era characterized by evening dances at Bougival. Repeatedly, when studying the faces of these sumptuously dressed citizens of the Belle Époque, one catches a glimpse of people acutely aware of the fragile foundations of their civilization.
Serious or concerted intellectual effort had no part in the process of creating Surrealist art – at least in theory. Artists were expected to switch-off their ideas about art and just draw.
In Neel’s painting, the sitter’s beauty is not compromised by her pregnant condition and makes no concessions to male desires. Claudia Bach is alive with the promise of new life, which in turn is an expression of her own individuality and of her place in the world.
Her canvases are vast, and painted in bold swathes of cartoonishly bright colors. The subject matter is intensely physical and often unsettling: bodily functions, explosions of emotion, and sometimes apocalyptic scenes of death and disaster.
Seeing a paint brush on the floor, the emperor reached down to retrieve it and presented it to the painter. Had Charles bestowed a golden scepter upon Titian, the honor would have been no greater. Artists were still viewed as artisans by most of the nobility of Europe. In sullying his royal hands with a tool of Titian’s trade, Charles paid him the ultimate compliment.
The Guggenheim Museum in New York City is the perfect venue for hosting great chronological exhibitions of art. Ascend the spiraling ramps and you are able to understand the course of an artistic era in its totality or the development of a national school of art, as was the case in the spectacular 2005 presentation of Russian art from its Byzantine-inspired roots to the post-Soviet present. But seldom have a museum and a special exhibition been so perfectly matched as Guggenheim New York and its present show, Picasso Black and White.
But it was at that moment that he discovered Japanese prints, rapidly assimilating all he could of a tradition of two-dimensional design defined by line and color, rather than depth and shadow. The compositions of Japanese masters such as Hokusai and Hiroshige seem to have provided Van Gogh with an aesthetic framework, a way of constructing images more congenial to him than the Classical tradition of the west.