by Hasan Niyazi CARAVAGGIO AND HIS FOLLOWERS IN ROME has arrived at the Kimbell Art Museum in Fort Worth, Texas. Those unable to experience the majesty of the Baroque in person are left to ponder the substantial catalogue recently published by Yale University Press. Featuring essays by exhibition organizers and notable scholars of the Baroque, Michael Fried’s contribution, Notes Toward a Caravaggisti Pictorial Poetics, will be seen by some as riding on the critical success of his 2010 study The Moment of Caravaggio. Continue Reading

Christ and His Opposite?

Maureen Mullarkey

October 25, 2011

ONE PROBLEM WITH ART HISTORIANS-TURNED-JOURNALISTS lies in the requirements of journalism. The art pundit must be interesting; no matter if accuracy suffers. Diversion is the name of the game. Elegant and high-minded, to be sure, but diverting nonetheless. And there really is not time, given the copy deadlines of daily or even weekly publications, to do much homework on the subject one wishes to be interesting about. Art history, like art talk across the board, is useful as a higher entertainment.buy Continue Reading

That Beleaguered Cross Again

Maureen Mullarkey

August 3, 2011

JUDGING FROM EMAIL RESPONSES, the accidental cross-shaped form left standing at Ground Zero rouses great ire. All my mail has been sympathetic to the lawsuit against it on the grounds that the cross is not a secular symbol. (I never said it was. I said it resonated beyond sectarian distinctions. Quite a different thought.) It was erected “by CHRISTIANS,” one reader screeched. Some of the mail considers wariness toward Islam “defamatory” and, in the main, just plain not nice. For clarity’s sake, let me take these one at a time, beginning with the (Christian) origins of America’s enthusiastic sectarian religiosity. Continue Reading

The Art of Punishment?

Maureen Mullarkey

July 27, 2011

ONCE RADICAL EVIL SHRINKS TO PSYCHOLOGICAL PROPORTIONS, society’s ability to inflict hardship—including the psychological pain of deep remorse—diminishes. Restitution and rehabilitation become one and the same thing. That pulls the rug out from under an artist’s capacity to conceive anything close to the grand hellscapes, sublime in their gravity, that came freely to Hieronymous Bosch. When intuitions of the demonic are disarmed and superceded by a therapeutic culture, what images are left to draw upon? Bosch lived in age that made this plausible: // // Contemporary Norway appears to have progressed to, even surpassed, this: // What brought Bosch to mind—more precisely, the contemporary impossibility of his hellscapes—is the post that appeared on the blog of Foreign Policy: “The Not-So-Terrible Fate of Norway’s Alleged Killer.” Continue Reading

The Responsibility of the Artist

Maureen Mullarkey

June 4, 2011

A small gem of a book that artists should have on their shelves is Jacques Maritain’s The Responsibility of the Artist. Together with Jacques Barzun’s The Use and Abuse of Art, it is all anyone needs to think or talk about the artist’s ultimate purpose. Dover keeps Barzun in print. Sadly, it does not do the same for Maritain. But scout around for a used copy. (First published in 1960, there exists also a 1972 edition.buy cialis professional generic https://yourcialisrx.com/cialis_professional.html over the counter ) Neglect is owed, most likely, to Maritain’s dual ambition: the pursuit of scholarship and the pursuit of sanctity. Continue Reading

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Navigating the Cognitive Philosophy of Michael Fried

Christ and His Opposite?

That Beleaguered Cross Again

The Art of Punishment?

The Responsibility of the Artist

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