News Art Blog

What would you do? Imagine you’re a politically conservative, devoutly religious art dealer fleeing your war-torn country when you suddenly see art radically unlike anything you’ve seen before. Do you stay the course or gamble on this next “big thing”? Now add the sudden death of your pregnant young wife, which leaves you with five children under the age of nine whose futures now depend entirely on your choices. Do you roll the dice with your life and theirs? If you’re Paul Durand-Ruel and that artist is Claude Monet, the original Impressionist, you don't just make that bet; you go “all in” — staking your family’s fortunes to those of a family of revolutionary artists. The exhibition Discovering the Impressionists: Paul Durand-Ruel and the New Painting, currently at the Philadelphia Museum of Art, goes “all in” with Durand-Ruel’s gamble and pays off big with a stirring tale of personal courage and art history in the making. Please come over to Picture This at Big Think to read more of "The Gambler: How Paul Durand-Ruel Bet Big on Impressionism (and Won)."

When Pablo Picasso and other early modernists appropriated elements of so-called “primitive” African art for Cubist and proto-Cubist works such as 1907’s Les Demoiselles d'Avignon they perpetrated a kind of artistic colonialism similar to the economic colonialism that brought back African treasures to French museums and galleries in the first place. It was an exclusively European, almost exclusively male club that marginalized not just the African culture it emulated, but also the women that were often the subjects of their art. In Mickalene Thomas: Tête de Femme, African-American artist Mickalene Thomas breaks up the modernist boys club a century after its formation and takes aim at the lingering effects of its subtle misogyny and racism that continue in the visuals of our present-day culture. Please come over to Picture This at Big Think to read more of "How Mickalene Thomas Breaks Up the Modernist Boys Club."

If any painting could be labeled “not safe for work,” it’s Gustave Courbet’s 1866 L'Origine du monde (in English, The Origin of the World; and, once again, NSFW). Banned even from Facebook, proving that prudery’s alive and well in the 21^st century, Courbet’s graphically realistic painting of a woman’s nude torso went unseen by the public until 1988 and didn’t enter a museum collection until the Musée d'Orsay accepted it 7 years later. An article in Paris Match (available only in French) reports that a painting has been found that is the “lost” upper half of the painting (shown above), which shows the face of the model of the infamous work. Courbet experts argue over whether or not this really is part of the original L’Origine, but if it is, what does that discovery mean for that painting and for how we see (or don’t get to see) what has become the most controversial painting ever? Please come over to Picture This at Big Think to read more of "Is This the Missing Half of the MostControversial Painting Ever?"

When painter and showman Louis-Jacques-Mandé Daguerre burst onto the scene in 1839 with his Daguerreotype—one of the earliest forms of photography—“Daguerreotypemania” quickly ensued. The art world quickly took notice of the new kid on the block, both negatively and positively. Dominique de Font-Réaulx’s simply titled Painting and Photography: 1839-1914 tells the not so simple story of how photography came to influence the world of painting, and vice versa. “[C]oncentrating less on immediate links between a photo and a given work of painting or drawing,” de Font-Réaulx instead focuses “on the manner in which photography gave rise to a paradigm of representation at once original yet familiar.” Painting and Photography: 1839-1914 outlines how what started as competition soon became an alliance of vision that changed the way we see forever. Please come over to Picture This at Big Think to read more of "How Photography Changed Painting (and Vice Versa)."


[Many thanks to Rizzoli USA for providing me with the images above and a review copy of Dominique de Font-Réaulx’s Painting and Photography: 1839-1914.]

Just judging by the number of artists I’ve friended on my blog’s Facebook page, a lot of present-day artists use Mark Zuckerberg’s brainchild to promote their work. The social network just offers too many opportunities to reach a wider audience that not taking advantage of that potential seems wrong. Unfortunately, Facebook’s rules against certain kinds of material, specifically nudes, threatens to censor artists who depict the human body. Two articles in the latest issue of The Art Newspaper discuss this threat to artistic expression looming on Facebook. The question that many artists and art collectors are now asking is this: Is Facebook too conservative for contemporary art? Please come over to Picture This at Big Think to read more of "Is Facebook too Conservative for Contemporary Art?"

[Image: Anders Zorn. Female Nude (detail).]