News Art Blog

On May 24, 1813, just months after publishing Pride and Prejudice, Jane Austen went to a show in search of her female hero. ''I dare say Mrs. D[arcy] will be in yellow,'' Austen wrote to her sister, fully expecting to find her heroine at the event—a retrospective of the painting of Sir Joshua Reynolds, the preeminent painter to the rich and powerful of late 18^th century England. Austen came away disappointed at not finding a painted equivalent to her novel’s main draw, but modern viewers won’t be disappointed by an online recreation of the exhibition titled What Jane Saw, which will draw in not just the legions of Jane Austen fans but also anyone interested in the origins of the museum blockbuster as well as the beginnings of celebrity culture and its discontents. Please come over to Picture This at Big Think to read more of
"Seeing Art the Way Jane Austen Saw it."

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?"

His statue has stood outside the York Art Gallery for a century now, but most passersby don’t know the name of William Etty or the works that once made him York’s most famous and infamous native artist. In the exhibition, William Etty: Art and Controversy, which runs through January 22, 2012 at the York Art Gallery, the nudes that brought lavish praise and vicious criticism upon Etty’s head stand for inspection before a new generation. As the curators and essayists of the catalog revisit the old controversies that seem quaint now, they also reveal a different side of Etty that makes him a controversial figure for today. Please come over to Picture This at Big Think to read more of "William Etty: The Most Controversial Artist You’ve Never Heard of."

[Image: William Etty. Candaules King of Lydia, Shews His Wife by Stealth. Exh. R.A. 1830, Oil on Canvas, Copyright Tate, 2011.]

[Many thanks to the York Art Gallery for providing me with the image above and a review copy of the catalog to the exhibition, William Etty: Art and Controversy, which runs through January 22, 2012.]