The artist speaks: the interview as documentation

Nearly every exhibition catalogue now contains an interview with, or related statement by, the artist. How and why did this become the norm? The increasing popularity of the artist's words is traced back in this article to its roots in Romanticism, the rise of the mass media and the cult of the avant-garde artist. The value and reliability of the transcribed and printed words is questioned and a bibliography of published interviews with artists follows

Bright Lights on Quiet Streets: Tom Keough’s Nocturnes

The well-kept city streets lined with trees and old brownstones may seem familiar in the paintings of Brooklyn-based artist Tom Keough, but the neighborhood is disquietingly empty. Keough situates the sidewalk in the immediate foreground of his paintings and compels the viewer to enter into an eerily vacant scene. With few exceptions, Keough leaves the always still and sometimes snowy New York setting largely unoccupied. Nonetheless, Keough conveys human presence in his paintings with the soft glow of lamplight from windows, footprints in the snow, and cars parked along the side. The theme of urban alienation—a paradoxical sense of loneliness felt in the midst of dense population and bustling activity—has been examined by Keough’s art-historical predecessors, such as Edouard Manet, Edgar Degas, and perhaps most consistently by Edward Hopper. Whereas these painters frequently employed various urban types (shop girls, entertainers, once clerks) lost in thought to evoke a sense of estrangement and inward reflection, Keough remarkably conveys similarly absorptive emotional states without such figural intervention. [excerpt

Decipher me or I'll devour you

Decifra-me ou devoro-te apresenta uma análise da obra Olympia, do artista Edouard Manet. Trata-se de estabelecer uma comparação entre a pintura de Manet e o conto de E. T. A. Hoffmann, O homem de areia, levando-se em conta a relação entre as personagens femininas de ambos e a mercadoria.Decipher me or I'll devour you presents an analysis of the work Olympia, of the artist Edouard Manet. It is a comparison between Manet's painting and E. T. A. Hoffmann’s tale The Sandman, taking into account the relationship between their female characters and commodities

La esfera pública y El bar de las Folies Bergère de Edouard Manet

The main discourses on art during the nineteenth century defined the artist as a spirit that should express their unbridled creativity, and overall that had the strength to express its total personal autonomy from institutional processes of culture. Thus, Manet’s work A bar at the Folies—Bergere contains substantial elements that express and help us to understand both the role of the artist, as the crisis of meaning in the work of modern art and problematic public sphere, treated by Haberma's as the field of social life in which we can develop our public opinion, and that is determined by common sense and rational consensus. In this sense, this article leverages how A bar at the Folies—Bergere questions the social representation of not only the public but the legitimizing institutions that support an artistic truth, to point to an x—ray that presents the structure and the gap between the public and artists, between artistic expression and cultural significance, and thus presents the cultural crisis warned by artists

Alexander Reid in context: collecting and dealing in Scotland in the late 19th and early 20th centuries

The thesis traces the whole of Alexander Reid's life (1854- 1928), the development of his career as an art dealer in Glasgow, and his influence on Scottish collectors between 1889 and 1925. This is set in the wider context of dealing practice in Britain and France, and emphasis is given to the role of the dealer in the career of the artists he represents. Attention is drawn to the development of taste in Scotland and to the distinctive characteristics of Scottish taste (for instance, for the Hague School). The main text is divided chronologically into six time sections or chapters, each of which is introduced by an overall view of the period, including biographical details and information on any exhibitions or gallery changes which took place during that time. Specific themes are discussed, including Reid's patronage of contemporary Scottish art and his promotion of French art during a particular period. The first chapter covers Reid's youth and early experiences of dealing in Glasgow. This first section also gives a general background to the period and addresses such issues as taste in Scotland during the 1870s and 1880s. The second chapter takes in Reid's education and maturity in Paris, his friendship with the Van Gogh brothers and the development of his own advanced tastes in art. The third chapter is concerned with the setting up of Reid's Glasgow gallery, La Societe des Beaux-Arts, in 1889, his patronage of the Glasgow Boys and his promotion of Whistler and Impressionist art during the 1890s. The fourth chapter deals with the period of recession and retrenchment at the beginning of the 20th century and up to the First World War. The fifth chapter celebrates Reid's achievements during the post-war boom of the 1920s, his patronage of the Scottish Colourists and the establishment in Scotland of a taste for Impressionism. The final section covers the period after Reid's retirement, the merger of Reid's gallery with the Lefdvre gallery in London and the final closure of La Societe des Beaux-Arts in 1932. The appendices include two important lists of collectors and dealers associated with Reid, together with a list of located works handled by Reid

Studi Komparatif Lukisan Perempuan Perupa dengan Pria Perupa Impresionis dalam Tema Kehidupan Keseharian

Impressionism is an art movement that firstly established in France in the middle of 19th century. Claude Monet, Èdouard Manet, Pierre-Auguste Renoir, and Edgar Degas are famous male impressionist artists that were known by many, yet there are famous female impressionist artists such as Berthe Morisot, Mary Cassatt, Eva Gonzales, and Marie Bracquemond that deserve to be known as well. The presented paper discusses the aesthetics value and meanings of paintings of these female impressionist artists, through the perspective of art criticism, historical method, and women studies. Object of analysis are paintings that depicting domestic life made by mentioned artists above. Results show that the depicted domestic life in those paintings presented a unique gaze of a woman, as shown in the representation of body language to express the relationship between mother and children. Thus, female impressionist paintings emphasize more on the activities and aspiration of women than the beauty of their bodies. The painted theme shows that the artists express gender equality and/or independent (or self-supporting) women, which are presented in an equal aesthetic quality compared to those of male impressionist artists