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A Variation on Botticelli by K. Yurica
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NEW: Gustave Caillebotte:
The Reluctant
Impressionist
By Holland Cotter
Caillebotte could
afford to be private, because he was rich.
He was born in 1848 to a haute bourgeois family in Paris,
and he grew up during the years that the medieval city was
being destroyed and a modern one — more sanitary,
shopper friendly and police surveyable
— was being built.
NEW: Complicated Bliss
Pierre Bonnard: The Late Interiors
Jed Perl
Wednesday, April 01, 2009
There is a tropical heat in Pierre
Bonnard's late
paintings. This subtle hedonist, a contemplative
spirit with king-sized obsessions, regards the colors
on his palette as objects of delectation. Each stroke
of alizarin or orange or green paint that he works into
the canvas has a life-giving
power.
The Late Interiors' Bonnard Late
in Life, Searching for the Light
By Roberta Smith
By the last quarter-century of
his long, productive
career, Pierre Bonnard (1867-1947) was deep into
what might be called his Red-Yellow-Orange Period.
These colors dominate “Pierre Bonnard: the Late Interiors,”
a sumptuous exhibition that lends some unseasonable
warmth to the Metropolitan Museum of Art, specifically
to the tepid lower level
of its Robert Lehman Collection.
The Spiritual In Art
By Jed Perl
Published by The New Republic
February 18, 2009
The wheel of fashion, which turned Marc Chagall and
Georges Rouault into has-beens a few decades ago,
is turning again. These two misunderstood moderns
are being taken seriously. The rise of identity politics
in the intellectual world has
certainly played a part.
Soaring in Art, Museum
Trips
Over Finances
By EDWARD
WYATT and JORI FINKEL
Yet
by putting art ahead of the bottom line, the
Museum of Contemporary Art has nearly killed
itself. The museum has operated at a deficit in
six of the last eight years, and its endowment has
shrunk to about $6 million from nearly $50 million in
1999, according to people who have been briefed
on the finances. Now the California attorney general
has begun an audit to determine if the museum
broke laws governing the use of restricted money
by
nonprofit organizations.
How the Culture
War Has Spread
to the Fine Arts:
An Answer to
H. R. Rookmaaker and
Francis Schaeffer
By Katherine Yurica
Should art be Christian? Should
Georges Rouault
replace Picasso? In fact, the issue is one of
dominance rather than taste. The question is:
“Whose art shall reign supreme in our world?”
Christian art or secular art? But my question is,
“Should art be judged by the belief system of the
artist or his religious mentors or should it be
judged on the basis of the vision the work itself
presents
to the viewer?
Ingres at the Louvre:
His Pursuit of a Higher Reality
By MICHAEL KIMMELMAN
PARIS — Outside the first gallery of the Ingres
show here at the Louvre, his gigantic painting of
Jupiter and Thetis from a distance might almost
be mistaken for a copy of itself — the colors are
so lurid and the surface is so smooth. No matter
how familiar Ingres is, like all great artists he
suddenly looks unfamiliar whenever
you see him.
How Art Creates the Artist
By Katherine Yurica
What Carl Jung wrote in 1933
is as
applicable to the lives of art students
today as it is to playwrights and poets and
writers on the web. Jung understood not
only the role that religion ought to play
in our lives, but also understood that the
artists, the poets among us, are the bearers
of spiritual wisdom and insights, born out
of the womb of civilization
itself.
Great Art: a Machine's View
Last week,
a Dutch scientist said the Mona
Lisa's smile was 83% happy. What would he
make of some other famous portraits?
Aida Edemariam
Wednesday December 21, 2005
Nicu Sebe insists
that he and his colleagues in
the computer science department at the University
of Amsterdam didn't expect the reaction they got
last week when it was revealed that they had
measured the precise significations of Mona
Lisa's smile: 83% happy, 9% disgusted,
6%
fearful and 2% angry.
Raiders of the Lost
Art
Less
than a fifth of our public paintings ever
see the light of day - the others languish in
dusty boxes in backrooms and attics. But one
man aims to change all that. Andrew Ellis tells
Tim Adams how he and his team are putting
art's missing masterpieces back in the frame
Tim Adams
Sunday
December 4, 2005
The Master Forger
John
Myatt was responsible for the
biggest art con of the 20th century,
and ended up going to jail for it.
Now his story is being turned into a
Hollywood movie - and a prestigious
gallery is showing his 'genuine fakes'.
He tells all to Mark Honigsbaum
Mark Honigsbaum
Thursday
December 8, 2005
Frenzied Buying but
Not
all Sales are Final
Closing report:
ArtBasel/Miami Beach
04 December 2005
By Georgina Adam, Jason Kaufman, Brook
S. Mason and M
Gisela Capitain
and Friedrich Petzel (C14) were
celebrating with a bottle of champagne in the
stand they share yesterday, as they totalled
up their sales at the fair. “This is the best
we’ve ever done here,” said Ms Capitain.
Among her many sales were a large painting
by Georg Herold for around $500,000 and a set
of three Jorge Pardo wall sculptures ($65,000).
Another gallery director (who requested anonymity)
told The Art Newspaper: “We haven’t beaten our
art fair sales record, but with two more days to go
we
could hit seven figures.”
Latin American Art Goes Global
Record number of works sold
at
ArtBasel/Miami Beach
02 December 2005
By Charmaine Picard
Latin American art, which used
to be collected
mainly by Latin American buyers, is now reaching
a broader audience than ever before. “US, European
and Southeast Asian collectors make-up 50% of
the market today,” says Carmen Melián, director
of Latin American Art
at Sotheby’s.
Existential Superstar
Another look
at Edvard Munch's
The Scream.
By Mia Fineman
Nov. 22, 2005
"I was walking along a path
with two
friends—the sun was setting—suddenly
the sky turned blood red—I paused,
feeling exhausted, and leaned on the
fence—there was blood and tongues
of fire above the blue-black fjord and
the city—my friends walked on, and
I stood there trembling with anxiety—
and I sensed an infinite scream passing
through nature."
Surrealism and the
Unconscious Mind
Unconscious
desire, self-destruction
and despair - the dark impulses that
we suppress during our waking hours
have long been an inspiration for
artists and writers
Darian
Leader
November 19, 2005
This is exactly the area that writers and artists
colonise. They explore not the rational goals of
human activity but what blocks these pursuits,
the impediments that give human life its richness
and its agony. By taking these dark threads and
magnifying them, they are faithful to the mysterious
world of desires and defences Freud mapped out in
The
Interpretation of Dreams
Picasso: When the Master
of Peace
Did Violence by Jonathan
Jones
Damien Hirst Reigns
Supreme in Art World
by Charlotte Higgins
· First Briton to top ranking of
dealers and collectors
· Artist has more clout than
Tate director, list says
Damien Hirst is the most powerful
person
in the international artworld - toppling his
own larger-than-life US dealer Larry Gagosian
and the Tate's mighty overlord Sir Nicholas
Serota - according to this year's Power 100
list from ArtReview magazine.
Seeing Fahrenheit 9/11
Through the Eyes of an
Artist by Katherine
Yurica
Fernando Botero: Turning
an
Eye From Whimsy to War
by
Juan Forero
Through the Looking
Glass:
the Next Step in Art?
by Katherine
Yurica
What Is Neo-Nabism?
by Katherine
Yurica
The God Racket From DeMille To DeLay.html
Vincent:
The Evolution of a Master
Who Dreamed on Paper
You can still picture
van Gogh, bookish
and fastidious, pouring out his thousands
of letters and drawings, private diaries in
words and images, sent to his brother and
to a few trusted friends, providing him with
a stability that he evidently could find nowhere
else in life. The Protestant preacher's son,
he dutifully recorded his constant labors
with pen and paper.
Van Gogh's Pen
A New York
Times Editorial
It's almost impossible to think
of Vincent van Gogh without thinking
of the velocity of his career: just a
short decade filled with hundreds of
paintings and drawings before his
suicide in 1890.
Imitations That
Transcend Flattery
Richard Pettibone's Copies
By Roberta Smith
British Political Cartoonist
in Era of the Enlightenment
James Gillray
By KEN JOHNSON
Most art has a limited shelf life. Minor forms
like caricature and political cartooning are
especially perishable because they depend
on the viewer's familiarity with forgotten
topics and personalities. The contemporary
caricaturist David Levine, for example, is a
fine draftsman, but the excitement of his
drawing is mainly in the way it transforms
the features of public luminaries we know
well through photographs. Will his art be
as compelling when his subjects have faded
from memory?
That satiric visual journalism
can transcend
its time has been proved. (See Goya's "Disasters
of War," for instance.) And there are examples in
an exhibition of prints by the English satirist
James Gillray (1756-1815) at the New York
Public Library that cross the line between
interesting artifact and
still-exciting art.
ART UNDER ATTACK
Artist Ensnared
by Patriot
Act By Stephanie Cash. Since May,
buffalo artist Steve Kurtz has been the
subject of a highly publicized federal
investigation involving his possession
of bacterial agents
and lab equipment.
The FBI'S Art Attack
The Washington Post reports
that an
internationally acclaimed artist, working
with unusual media in order to create works
of art that reveal the politics of biotechnology was
raided
by the FBI and now is being
prosecuted under the Patriot Act as
a BioTerrorist.
Artists Subpoenaed
in Patriot Act Case
Three artists have been served subpoenas
to appear before a federal grand jury that
will consider whether their art falls
under the bioterrorism section of the
Patriot Act.
Art Gallery Owner Closes
because of threats and attacks
A painting showing naked
Iraqi prisoners
being abused by U.S. soldiers brought out
the Hate Brigade in San Francisco.
Midst increasing violence aimed at
the gallery owner. Hate won!
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