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The standard line against painter John Singer Sargent goes like this: a very good painter of incredible technique, but little substance who flattered the rich and famous with decadently beautiful portraiture — a Victorian Andrea del Sarto of sorts whose reach rarely exceeded his considerable artistic grasp. A new exhibition of Sargent’s work and the accompanying catalogues argue that he was much more than a painter of pretty faces. Instead, the exhibition Sargent: Portraits of Artists and Friends and catalogues challenge us to see Sargent’s omnivorous mind, which swallowed up nascent modernist movements not just in painting, but also in literature, music, and theater. Sargent the omnivore’s dilemma thus lies in being too many things at once and tasking us to multitask with him. Please come over to Picture This at Big Think to read more of "Omnivore’s Dilemma: Rethinking John Singer Sargent."

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)."

American Impressionism’s often been seen as a pale copy of the French Impressionism that flowered in the late 19^th century. Although American Impressionists early on copied their French counterparts (and even made pilgrimages to Monet’s Giverny garden and home), the exhibition The Artist's Garden: American Impressionism and the Garden Movement, 1887–1920, at the Pennsylvania Academy of the Fine Arts through May 24, 2015, proves that American Impressionism quickly blossomed into something distinct — and distinctly American — by the turn of the 20^th century. Capturing aesthetically a moment of contradictions as American nativism threatened to close borders while women’s suffrage struggled to open doors, The Artist’s Garden demonstrates the power of flowers to speak volumes about the American past, and present. Please come over to Picture This at Big Think to read more of "Flower Power: Women, Gardens, and the Dawn of American Impressionism."

If Mona Lisa is the smile, Madame Cézanne is the scowl. Hortense Fiquet, Paul Cézanne’s model turned mistress turned mother of his child turned metaphorical millstone around his neck, endures as a standard art history punch line—the muse whose misery won immortality through the many masterpiece portraits done of her. Or at least that’s how the joke usually goes. The Metropolitan Museum of Art’s current exhibition Madame Cézanne, which gathers together 24 of the 29 known portraits Cézanne painted of Hortense over a period of more than 20 years, tries to rewrite that joke as it hopes to solve the riddle of Madame Cézanne, aka, The Case of the Miserable Muse. Please come over to Picture This at Big Think to read more of "Madame Cézanne: The Case of the Miserable Muse."

“If you love someone,” pop star Sting sang years ago, “set them free.” Sometimes the first rule of love is forgetting all the rules that constrain the object of one’s affection, while trusting that the beloved will return on their own. Nineteenth century British artist J.M.W. Turner knew all the rules of painting from the Old Master tradition, but once he reached his seventh decade and found himself an Old Master, he began cutting ties to the old rules of his beloved painting and set it (and himself) free. The results, on glorious display at the Tate Britain’s exhibition Late Turner: Painting Set Free, heralded new directions in art followed by the Impressionists and nearly every modern art movement to follow. Please come over to Picture This at Big Think to read more of "How Turner Loved Painting, So He Set It Free."

What really matters in an art education? Do we teach every child to paint or sculpt? Do we school them in names and dates and places? Or do we somehow teach them the elusive and dangerous “truth” of what art is or should be? Jean-Francois Laguionie’s animated film The Painting (Le Tableau), distributed across the United States this month by GKIDS, Inc., uses the ages-old technique of allegory combined with the modern wonder of animation to tell the truth of what making and appreciating art really is. Dazzlingly designed, rapturously rendered, and devastatingly direct, The Painting pictures for an impressionable audience how art makes us more ideally human by making the medium itself move. Please come over to Picture This at Big Think to read more of "An Animated Parable of Painting."

[Many thanks to GKIDS, Inc. for providing me with the image above from, a screener’s copy of, and other press materials related to The Painting (Le Tableau), which opened in New York City on May 10^thand will expand to Los Angeles, San Francisco, Boston, Atlanta, and other cities beginning May 24^th.]

When the Tate Britain recently revealed the latest rehanging of their astounding collection of British art, many long unseen works found a new place in the galleries, but one long-standing feature was not to be found—explanatory wall text. The Guardian’s Jonathan Jones hails this rehanging as “a radical rethink at Tate Britain that also sees more paintings on its walls, sculptures on its floors and history in its bloodstream than ever before.” Is this rethinking of the role of the explanatory wall text the first step in a rethinking of the role of a museum itself? Would it be a good or a bad thing if museums no longer supplement our direct, naked experience of the art? Should museums stop teaching?  Please come over to Picture This at Big Think to read more of "Should Museums Stop Teaching?"

No myth about art and artists abides as pervasively as that of Vincent Van Gogh, the mad genius. To mark the grand reopening of the renovated Van Gogh Museum in Amsterdam, The Netherlands, curators and conservators hope to renovate Van Gogh’s madman mythology with the exhibition Van Gogh at Work. That workmanlike title relates perfectly the show’s goal to demonstrate just how workmanlike Van Gogh was in developing and thriving as an artist. Less a portrait of a man touched by angels and demons and more a depiction of a troubled man who immersed himself in the craft of painting, Van Gogh at Work might succeed in making Vincent more normal, more relatable, and less crazy after all these years. Please come over to Picture This at Big Think to read more of "Van Gogh: Less Crazy After All These Years?"

[Image: Vincent Van Gogh. Self-Portrait as an Artist (detail), 1887. Image source.]  
[Many thanks to the Van Gogh Museum in Amsterdam, The Netherlands, for providing press materials related to the exhibition Van Gogh at Work, which runs through January 12, 2014.]