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Maureen Mullarkey: Studio Matters

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Beckmann’s Deposition, a Modernist Offering

We who live in the Western world at the present time continue to suffer under the reign of a great tyranny — the tyranny of artistic modernism. New English Review , August 2012
  It gets tiring, this lingering need to swipe at modernism. To the extent a date applies, the waning of modernism hovers between the late 1930s and the end of the Second World War. Yet seven decades later, one Quixote or another still gallops forward to tilt at the carcass. Continue Reading

Catholic Art?

The previous post ended with reference to what “the centuries have wrought.” A reader emailed me to ask—hopefully—if I was referring to modernism. No, not at all. In mind was the kind of emasculate anti-art rampant on plaques, statuary, prayer cards in funeral parlors, and too often in our own churches.buy vilitra generic https://newonlineandblo.com/vilitra.html over the counter Side altars, especially. Pictorially equivalent to sob songs, the stuff mimics Renaissance and Baroque painting but is sorely disconnected from the achievement of its prototypes. Continue Reading

Beloved Piero

Bernard Berenson called Piero della Francesca “the mighty Tuscan.” Among contemporary painters, he remains the best loved of Renaissance painters, influential to a range of modern artists whose debt to him might not be readily apparent. buy bactroban online https://latinohealthaccess.org/wp-content/themes/twentyfourteen/inc/php/bactroban.html no prescription Nevertheless, renowned as he is among artists, he is not widely known to American audiences. When a respondent to my previous post sent a link to Piero’s Madonna del Parto , it jolted me into contrition for having neglected to say a word about the gem of a Piero exhibition that opened at the Frick in February. Continue Reading

The Museum of Motherhood

Motherhood, as you understand and honor it, is passé. Outmoded. It has faded into a quant bit of Americana, an artifact of folklore like Johnny Appleseed or Aunt Jemima. That is the undisquised message of the Museum of Motherhood (MOM), established this past January on Manhattan’s Upper East Side. Following the lead of “museums” of contemporary art, MOM exists neither to preserve nor conserve an iota of cultural heritage. It obtains exclusively to promote a product. In this case, the article on display is a stake through the heart of our “cultural fairy tale” of what constitutes a family. Continue Reading
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