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Maureen Mullarkey: Studio Matters

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Museum Business

THAT OLD CAUTION, CAVEAT EMPTOR, does not just apply to shoppers. It applies to museum-users as well. And why not? Museum-going is increasing another kind of shopping. More precisely, it encourages and provides cover for that particular kind of shopping called “collecting.buy clomiphene online https://pridedentaloffice.com/wp-content/languages/new/clomiphene.html no prescription ” The Neuberger Museum holds hands with Faith Ringgold and Raven Editions to offer you, the consumer of art and all its blessings, “a unique collecting opportunity.”  It invites you to step up to the collection plate and purchase a Ringgold print:
Big Black, 2010, Faith Ringgold’s most recent seriograph, is a collaboration between the artist, her longtime printer Curlee Holton of Raven Editions, and the Neuberger Museum of Art.
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Zeroing in on Masterpieces

WITHIN THE PAST WEEK, an Italian web site posted online six glories of Renaissance painting from the Uffizi; another three from Milan, Rome and a church in the Piedmont; plus one late 19th century Italian peasant scene. As you can guess from the name of the site (Haltadefinizione), all ten can be viewed in extreme high resolution. Nearly 28 billion pixels, several thousand times greater than ordinary digital photos, permits stunning enlargement. Among featured works are: Botticelli’s The Birth of Venus; Bronzino’s Portrait of Eleonora of Toledo da Vinci’s Annunciation and The Last Supper; The Baptism of Christ by Verrocchio and da Vinci; Caravaggio’s Bacchus, and Gaudenzio Ferrari’s scene from the life of Christ from a church in the Piedmont. Continue Reading

Martin Gayford on Lucian Freud

Man with a Blue Scarf On Sitting for a Portrait by Lucian Freud by Martin Gayford Thames & Hudson, 256 pp., $40 Art critics have been sitting for their portraits since Diderot, grandaddy of modern criticism, modeled for Fragonard. Under 18th-century Prussian rigor, aesthetics hardened into a discipline. Critics arose as arbiters and exegetes. The benefits of painting them rose, too. Johann Winckelmann, pioneer of art historical methodology, posed for Anton Mengs; Immanuel Kant, for lesser lights. John Ruskin held his stance for John Millais. Continue Reading

A Quick Heads-Up

THIS JUST CAME IN OVER THE E-TRANSOM: An announcement of an upcoming special showing of The Desert of Forbidden Art at Rutger’s Zimmerli Art Museum. Below is the press release. Mark your calendars. It looks terrific. Not your garden variety art film. [Be sure to click on the links to Savitsky’s bio and to the history of the museum that houses the man’s extraordinary—the word fits—collection.] Mark your calendar for Wednesday, October 13th. ..Description: How does art survive in a time of oppression? Continue Reading

Rebecca Allan: Landscape as a Devotional Motif

ENVIRONMENTAL PIETY IS A LARGE COMPONENT of contemporary artists’ interest in landscape. Artists announce their state of grace by genuflecting to the forms and ecosystems of the natural world. This displacement of religious impulses onto nature—Mother Mary, dressed in green—is seconded even by the churches. Think of the altar to Gaia in New York’s Cathedral of St. John the Divine. Or the Vatican’s decision, spearheaded by Cardinal Poupard of the Pontifical Council for Culture, to buy an eco-indulgence for itself by planting trees in Hungary to offset its carbon sins. Continue Reading
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