tag:blogger.com,1999:blog-190477602024-03-18T10:59:58.200-05:00mountshang
"In Paris you have the Saint Chapelle and the Louvre, true enough, but we in Chicago kill eighty thousand hogs a day!..." The man who says that is in truth a business man.... Leon Bloy
chris millerhttp://www.blogger.com/profile/09575033275184403015noreply@blogger.comBlogger542125tag:blogger.com,1999:blog-19047760.post-80408648764531394242023-08-13T10:21:00.167-05:002024-03-18T10:59:24.545-05:00My Collection<div style="text-align: center;"><br /></div><div style="text-align: center;"><p style="text-align: left;">I began collecting non-objective paintings at about the age of seventy. After ten years of viewing them in shows , my desire to own one finally became irresistible - just as the necessary funds finally appeared. My adult life has been devoted to a certain kind of <a href="http://www.ilovefiguresculpture.com/">classical figurative sculpture </a>, and my living space is well populated with pieces by myself, my father, and his teacher, Milton Horn. All the horizontal surfaces were taken - but the walls were still available!</p><p style="text-align: left;">I want local contemporary pieces because I crave the presence of people who celebrate life in my own time and place. So why don’t I collect contemporary figurative art? Maybe because so few local galleries show anything figurative other than cartoonish Imagism or illustration. Maybe there just isn’t that much being made. Or perhaps figurative art can’t help but annoy me unless I made it. </p><p style="text-align: left;">Human subject matter does indeed fascinate me as I draw or sculpt it. But as a viewer, the subject most accessible is the unique spirit of an artist - as cultivated in visual media throughout their lives. Artists live for their works- and that’s what I want to live with : the finest moments of their existence condensed into a few square feet of wall space. In our secular, democratic, mercantile age, can art have any higher purpose? It’s a visual corollary to Walt Whitman’s "I hear America Singing" - though as it turns out, almost all of my artists only reflect my own Euro background - also shared by the preponderance of nonobjective painting shown in Chicago.</p><p style="text-align: left;">Obviously, I am no longer indigent - but since wall space is limited, I see no reason to spend princely sums for blue-chip local artists like Candida Alvarez, Anna Kunz, or Molly Zuckerman-Hartung —- when I can be equally thrilled by pieces for $5,000 (or less). My selection process is intuitive - as if behind a black curtain . Appetite, available location, relation to the rest of the collection, and price ——- all enter into the equation. Nothing attracts me more than something beautiful but way different from everything else I have. The diversity of non-objective painting is astounding- especially when you compare it to social realism or Impressionism or classical realism from earlier eras. </p><p style="text-align: left;">All of these pieces were purchased either directly from artists or their galleries. Four were purchased from Thomas McCormick -so apparently his taste is similar to mine. A gallerist’s job is to build value for the artists they represent - i.e. increase their social status - which does not necessarily elevate the kind of art that I want to see. Which is a good thing - at least for me. If market value were proportional to how much I like these things, I could never afford them. When most successful, galleries serve an economic elite of artists and collectors. But along the way, they might also provide free entertainment and reasonably priced art for the rest of us.</p><p style="text-align: left;">Today, non-objective painting occupies a middle ground in the art world, along with more figurative kinds of expression - like the Chicago Imagists, for example. Above is conceptual and gender/racial identity. That’s what most often appears in the galleries of the Modern Wing at the Art Institute. Below is observational mimetic. Further below - indeed, totally underground - are various kinds of classical idealism - including my own.</p><p style="text-align: left;">The 1950’s was the golden age of American abstract expression, back before irony became far more hip. In Chicago, it was side-lined by Imagism. It does seem to be making a comeback, however. The only special relevance of the new paintings by Candida Alvarez is that they are really, really beautiful - and yet the larger pieces are selling for six figures. No irony, anger, despair, or social justice is implied. Just a love of life - which is what I seek in all the paintings in my collection.</p><div><br /></div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">************</div><div style="text-align: center;"><br /></div><div style="text-align: center;">This post is ongoing until my walls are full.</div><div style="text-align: center;">(Actually - they already are)</div><div style="text-align: center;"> New acquisitions, if any, will be added at the top.</div><div style="text-align: center;"><br /></div><div style="text-align: center;">********************************</div><div style="text-align: center;">********************************</div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFNVgbc62hxPt3-ewBF7pNoOskJrCqqsuylOOhyphenhyphen1c5WPV_jBetnsExATT0MCdRdyvSX7lKH5Uju2eWfjwlKoyVEbWKGtgsDt6IdxzA2yMmmFhMAJyZS-sBerGagQINDHp9aWmBcKKrmY6de9a4xYc8UYdb5-6f37WUK3fZHzXJIeqSPI3S1Wpb1AxQEJ8/s800/DC9D8325-D7AF-42C7-B62F-A4633A42988E.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="628" data-original-width="800" height="251" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFNVgbc62hxPt3-ewBF7pNoOskJrCqqsuylOOhyphenhyphen1c5WPV_jBetnsExATT0MCdRdyvSX7lKH5Uju2eWfjwlKoyVEbWKGtgsDt6IdxzA2yMmmFhMAJyZS-sBerGagQINDHp9aWmBcKKrmY6de9a4xYc8UYdb5-6f37WUK3fZHzXJIeqSPI3S1Wpb1AxQEJ8/s320/DC9D8325-D7AF-42C7-B62F-A4633A42988E.jpeg" width="320" /></a></div><div style="text-align: center;">Emily Rapport, The Empty Lot, 26 x 32, oil on canvas</div><div style="text-align: center;"><br /></div><div style="text-align: center;">How appropriate that my final purchase harkens back to those sentimental yet powerful 19th C. landscapes that I grew up with in the museums of Cincinnati. </div><div style="text-align: center;"><br /></div><div style="text-align: center;">I’ve loved Emily’s cityscapes ever since <a href="http://newcityart.blogspot.com/2017/05/emily-rapport-at-firecat-projects.html"> I saw her at Firecat Projects</a> in 2017. I tried, but failed, to get her into my cityscape show in 2022 - and then finally I bought this piece that <a href="
https://newcityart.blogspot.com/2024/01/perl-rapport-and-zabicki-at-college-of.html">she showed at the College of DuPage </a> in 2024.
</div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;">Mimetic images that lack painterly power are what I call illustration — and very few artists like Emily can achieve both. </div><div style="text-align: center;"><br /></div><div style="text-align: center;">This piece feels so sad and yet wonderful. </div><div style="text-align: center;"><br /></div><div style="text-align: center;">It’s a real credit to herself</div><div style="text-align: center;">and her teacher,
<a href="
https://art.newcity.com/2011/04/25/review-marion-kryczkachicago-cultural-center/"> Marion Kryczka</a>
</div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_hVMwttFt7Yn-gODIWIpwgB4uS29h5e8HK1Gi_vxi2aAQrTHd1KLZDNmOFk5Q2CYkSRq2zTFMv4agSqFv7a_yppQ-M051F0WRseRxr1QMvjbJxc8ThwE4eL9gK9IklXRGKDOjIND-Awwe4i5a1ODv5XDrxd1ujU-Batj_OapWqRRWFk3Kt5Od/s871/FD39D351-8D52-4D9C-9CF3-4083D3A07BA5.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="871" height="294" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_hVMwttFt7Yn-gODIWIpwgB4uS29h5e8HK1Gi_vxi2aAQrTHd1KLZDNmOFk5Q2CYkSRq2zTFMv4agSqFv7a_yppQ-M051F0WRseRxr1QMvjbJxc8ThwE4eL9gK9IklXRGKDOjIND-Awwe4i5a1ODv5XDrxd1ujU-Batj_OapWqRRWFk3Kt5Od/s320/FD39D351-8D52-4D9C-9CF3-4083D3A07BA5.jpeg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">It perfectly fits in a stairwell where it invites close inspection.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">I love to look at the dangling wires, torn privacy screens, and individual brush strokes — while savoring the tonalities - and pondering the fragility of the human condition. </div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Sooner or later,</div><div class="separator" style="clear: both; text-align: center;">everything in our mighty cities will be a vacant lot.</div><br /><div style="text-align: center;"><br /></div><div style="text-align: center;">*********</div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuhKFoddMKJ7Z1OCBZPYZo3OMmfHfOw48rIpDy-jiulkNUPoh_qHWqim8wgs5Lea2P6uGyHThYa487OVQlIi-ljlmKsSeeYwYgoH4b7b1616_TvTWKyYscbQkz8eXh6dLDiwZoAR2tXcdk4pNftJsoYdMtxkydF5u7gszVmkMcktc4M9lQx7wM/s800/7356004B-6E3D-4A74-9A72-87A40232B682.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="639" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuhKFoddMKJ7Z1OCBZPYZo3OMmfHfOw48rIpDy-jiulkNUPoh_qHWqim8wgs5Lea2P6uGyHThYa487OVQlIi-ljlmKsSeeYwYgoH4b7b1616_TvTWKyYscbQkz8eXh6dLDiwZoAR2tXcdk4pNftJsoYdMtxkydF5u7gszVmkMcktc4M9lQx7wM/s320/7356004B-6E3D-4A74-9A72-87A40232B682.jpeg" width="256" /></a></div><div class="separator" style="clear: both; text-align: center;">Hanna Taylor Marino, Birthday Card Scraps #1, acrylic and oil on canvas, 20 x 16", 2024</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Another gift from Instagram. The colors are slightly different in real life - so the emotion is different as well. Now there is a hint of looming anxiety I didn’t feel on the computer screen. But it’s still the happy, everyday world of a young American who’s got a lot of living to do.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">It’s the perfect foil for the more cogitative Ben Tinsley piece that hangs beside it - as well as the more struggling Sarah Boyts Yoder that’s across the room.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCLo3CLWoqEbpp_LQTinH6d-tBAX4ZsR4LoYEuvcal9l_P3HTM8nIP0jmjca_qBVgQw06McaLlg21j-SUH-6CNnpx5TDOUmgS9S2mjvzzxmzuTb-nP-GaX8stAfsN70IZ0ptyWLVWE7q3qkGwZ3w4atnYQB2KelRErvtJh6jMqw76tMOoDZiaJ/s800/3EB4A236-D571-40BE-A545-EA112E225BE6.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="566" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCLo3CLWoqEbpp_LQTinH6d-tBAX4ZsR4LoYEuvcal9l_P3HTM8nIP0jmjca_qBVgQw06McaLlg21j-SUH-6CNnpx5TDOUmgS9S2mjvzzxmzuTb-nP-GaX8stAfsN70IZ0ptyWLVWE7q3qkGwZ3w4atnYQB2KelRErvtJh6jMqw76tMOoDZiaJ/s320/3EB4A236-D571-40BE-A545-EA112E225BE6.jpeg" width="226" /></a></div><div class="separator" style="clear: both; text-align: center;">Installed</div><br /><div style="text-align: center;"><br /></div><div style="text-align: center;">*************</div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBvxx2KClaKa2RhCvs_CGIm7c-hFllSwWMstJOiaUZTvQ7-cD9pyCevDZK4wfWDNuDvZ_C_Bxy1m2LmJWdHTScOsAPbMDGO0SzLrFweBH0NGVAANM5_uYkvmpJbl0Bw9_C7RsntlWJqkOuh1BzFUmy2Jz0f-MJhdnC008p2t5_sCztIKeF2dN1/s800/5769C2B5-D2F6-4798-A61D-C0DBCE69F9AA.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="620" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBvxx2KClaKa2RhCvs_CGIm7c-hFllSwWMstJOiaUZTvQ7-cD9pyCevDZK4wfWDNuDvZ_C_Bxy1m2LmJWdHTScOsAPbMDGO0SzLrFweBH0NGVAANM5_uYkvmpJbl0Bw9_C7RsntlWJqkOuh1BzFUmy2Jz0f-MJhdnC008p2t5_sCztIKeF2dN1/s320/5769C2B5-D2F6-4798-A61D-C0DBCE69F9AA.jpeg" width="248" /></a></div><br /><div style="text-align: center;">Sarah Boyts Yoder, Sun Spot, Acrylic, tempera, oil on linen, 26 x 20, 2023</div><div style="text-align: center;"><br /></div><div style="text-align: center;">The Instagram algorithm suggested this artist for me - and this time it was right. Every time one of her pieces popped up on my small screen, it rekindled my desire to own one. I was trying to limit my collection to local artists - but - what can I say?</div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;">I’m not sure I would have chosen this piece had I seen it in a gallery. The small, backlit image on my IPad feels more joyful and finished than the actual painting - which feels more like a study. The surface expresses struggle, effort, and experimentation. But it also feels like a study for what could become a spectacular stained glass window. So I will finish the job in my mind - whenever I need to. The artist’s powerful unique spirit is in both - and it’s the perfect feminine complement to the masculine Ben Tinsley piece that hangs nearby.</div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNt5LRKqHQQlSu5SZV8m8donDYoUasHWWDt8s84oKz7Pmg-P20YBm5ndjvpVgL1ttG3F1jP0znxc71Jh5u9ap2yJudPf2Xk1mqZ1u4h3qulRe3MNI7IzSYnWB6AyhKmtvqcdWmpMbIaVRT6m7-RLy2U5sUkYSpVkbQUoen5X-r91pUvx-49uvD/s800/10A6DE99-0261-4A2E-8A81-372AABD0AC1F.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="731" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNt5LRKqHQQlSu5SZV8m8donDYoUasHWWDt8s84oKz7Pmg-P20YBm5ndjvpVgL1ttG3F1jP0znxc71Jh5u9ap2yJudPf2Xk1mqZ1u4h3qulRe3MNI7IzSYnWB6AyhKmtvqcdWmpMbIaVRT6m7-RLy2U5sUkYSpVkbQUoen5X-r91pUvx-49uvD/s320/10A6DE99-0261-4A2E-8A81-372AABD0AC1F.jpeg" width="292" /></a>Ii</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">I sprayed a blurry circle of gray paint behind it.</div><div class="separator" style="clear: both; text-align: center;">The background’s glossy surface accentuates the roughness of the painting's surface<br /></div><div class="separator" style="clear: both; text-align: center;">so we may honor it as intentional<br /></div><br /><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;">All of my other non-objective paintings initially appear more skillful - but human life is always a work in progress - filled with false starts, anxieties, and impossible dreams. Which makes this one more personal and honest than the others. And — they all push outward as they pull inward - but nothing pushes out as strongly as this one. It’s great to see first thing in the morning. This scruffy artist inspires me.<br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZpcUFrK1DteToSZebOipe1Ldqx2w3wrrx9J1hFtEAysDIzF14rlAUFtaEpqheCxWyf-vfEMXtBoN9BBd5vGKCimgZUqhsxSdVz4XVgi5jnO443lsr4omhZgxA-sYrt2idJJDiwrH1TRdYTG2ZCMmFQwRPm30SbLGvjvAptV8Kp_Jb6ky_ASc8/s800/4546237F-E7D0-4A2B-9C95-49DC2E930B85.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="791" data-original-width="800" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZpcUFrK1DteToSZebOipe1Ldqx2w3wrrx9J1hFtEAysDIzF14rlAUFtaEpqheCxWyf-vfEMXtBoN9BBd5vGKCimgZUqhsxSdVz4XVgi5jnO443lsr4omhZgxA-sYrt2idJJDiwrH1TRdYTG2ZCMmFQwRPm30SbLGvjvAptV8Kp_Jb6ky_ASc8/s320/4546237F-E7D0-4A2B-9C95-49DC2E930B85.jpeg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">Jackie Kasharian, Um 5, 16x16, acrylic on panel, 2023</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Jackie was selected by Susanne Doremus to hang a piece in the back gallery of her 2022 show at Zolla-Lieberman - giving me a chance to take a good look at both artists. Something more important, perhaps even tragic, seems to background Jackie’s pieces - and so I find them more fascinating.
I have written about her <a href="https://newcityart.blogspot.com/2023/12/jackie-kazarian-at-oconnor-gallery.html">here</a>
</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">This piece is a little too scary for the living room, so it’s going in the hallway, adjacent to Bob Lickton’s cosmos shown below.</div><br /><div style="text-align: center;"><br /></div><div><br /></div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMKqjYesHFf3OYNON5lv9L_NWmgyUrO7HeiZjpucmzDA2CJfP9c-UhZjrQflMIXLiZa2aC76uzQs5jVX-w16AkTtqWeMqxpmy1V6fxzbvm99pcjBlFs8QkSEeCmiZYUsLPHay41sinholZbI4Iyxf6LIb2lwbrk_1YbzqK7yi4lVYRTIBY0oje/s800/5268B1F4-BB6E-46D3-89C8-12B7F1D21610.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="557" data-original-width="800" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMKqjYesHFf3OYNON5lv9L_NWmgyUrO7HeiZjpucmzDA2CJfP9c-UhZjrQflMIXLiZa2aC76uzQs5jVX-w16AkTtqWeMqxpmy1V6fxzbvm99pcjBlFs8QkSEeCmiZYUsLPHay41sinholZbI4Iyxf6LIb2lwbrk_1YbzqK7yi4lVYRTIBY0oje/s320/5268B1F4-BB6E-46D3-89C8-12B7F1D21610.jpeg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">Bob Lickton, Art #361, alcohol ink on black craft plastic, 36x48, </div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">An old customer/friend walked into my cd store one day and told me about another shop owner in Oak park who was as art distracted as me. Bob Lickton owns a bike shop up on Lake Street. It’s a magnificent old building whose offices were converted into apartments and whose central atrium became a gallery for his alcohol ink paintings. I wasted no time in biking over and buying his most spaced out creation. Its plastic surface is quite reflective so it is difficult to light. But its galaxies are still much easier to see than those in the night sky above Chicago.<br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">I display it in a dark hallway with motion sensitive lighting.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Bob appears to be what you might call an "outsider artist". No resume or art theory on the website - and when you buy a piece, the check is made out to a local charity that provides health care for children. I think he’s really struck by what he feels is beautiful and he uses colored ink to get there in a variety of ways. Views of the universe, like the piece shown above, are only one of the many things he tries. Basically he’s serving the community by proliferating beauty and helping poor kids. </div><br /><div><br /></div><div><br /></div><div><br /></div><div><br /><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxG4hCAAaqCvHb_Gp9IQoqhVYfqzsKR29uizcHv4htiw21sNX9s69eGDiLEpjrlgle6lXL2kpRC9HylrkQm1dmeTByxTsJ3rysykMfdO0cd5PlKbMpESBISvuwcpzTuHOXshvPXvMb3xkWq4DwzYmLdSKIFh3BQrXzeXi2bH3mhIALyGOY2Nov/s800/93184360-B933-48CA-BCC8-3648BEF1F3B4.jpeg" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="800" data-original-width="796" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxG4hCAAaqCvHb_Gp9IQoqhVYfqzsKR29uizcHv4htiw21sNX9s69eGDiLEpjrlgle6lXL2kpRC9HylrkQm1dmeTByxTsJ3rysykMfdO0cd5PlKbMpESBISvuwcpzTuHOXshvPXvMb3xkWq4DwzYmLdSKIFh3BQrXzeXi2bH3mhIALyGOY2Nov/s400/93184360-B933-48CA-BCC8-3648BEF1F3B4.jpeg" /></a></div><div style="text-align: center;">Dimitry Pavlotsky, Unwelcome Guest, 16x16x1, acrylic on cradled board, 2021</div><div style="text-align: center;"><br /></div><div style="text-align: center;">Dimitry showed very different paintings back in 2015 when I
<a href="https://art.newcity.com/2015/08/15/review-dimitri-pavlotskystudio-oh/">
reviewed his show </a> at an artist run gallery.</div><div style="text-align: center;">Indeed these two pieces stand apart from most of what he does. We share an enthusiasm for the Swedish painter
<a href="https://art.newcity.com/2019/09/11/static-velocity-a-review-of-bengt-lindstrom-at-the-swedish-american-museum/">Bengt Lindstrom</a>, and that’s who these two pieces remind me of. A cross-eyed wild pagan ferocity.</div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEjyp4iWx9XMeTLgUVYEcL9L277TNl9P6qLY324cxuVGKVXdab0_5ACuA0IoBA5CrGC7h36zSe5YVNr6n6s4M0sGKLnAPlcx0HozdoceV_lWOM1ElEZL7btgdKbNIlxktiMWUB63OtcmJSzKTD6Cq_5Ve-b9nBJ0ySCeq7hjjcVk5CQFW38Zza/s800/35C0F620-CA27-4E39-AD97-6213CA3207FE.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="797" data-original-width="800" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEjyp4iWx9XMeTLgUVYEcL9L277TNl9P6qLY324cxuVGKVXdab0_5ACuA0IoBA5CrGC7h36zSe5YVNr6n6s4M0sGKLnAPlcx0HozdoceV_lWOM1ElEZL7btgdKbNIlxktiMWUB63OtcmJSzKTD6Cq_5Ve-b9nBJ0ySCeq7hjjcVk5CQFW38Zza/s320/35C0F620-CA27-4E39-AD97-6213CA3207FE.jpeg" width="320" /></a></div><br /><div style="text-align: center;"><br /></div><div style="text-align: center;"><div>Dimitry Pavlotsky, Advantages of Primitives, 16x16x1, acrylic on cradled board, 2021</div><div><br /></div><div>These are the most reach-out-and-grab-you intense paintings on my walls - and I seek them out every day to perk myself up.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP5yBboYAwiJdsOehwRW_qBeCO7js4qSy2iWgz8Gs8Fbh6yBZPzD-mQ6qnkdkl_cc8cwuOglsY9tXPMZdZBlAKr5uB9s4avTUHZoua9UXntCBeYeOuVrVIGpO7DUf4NrapNN7KU3qEPg2GYTFVFJ2Zy8ouRsdD0hABw62u85ejNVgWYkSoQq3a/s800/A0DB283D-8BE5-457A-BF9D-12793077AC95.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="689" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP5yBboYAwiJdsOehwRW_qBeCO7js4qSy2iWgz8Gs8Fbh6yBZPzD-mQ6qnkdkl_cc8cwuOglsY9tXPMZdZBlAKr5uB9s4avTUHZoua9UXntCBeYeOuVrVIGpO7DUf4NrapNN7KU3qEPg2GYTFVFJ2Zy8ouRsdD0hABw62u85ejNVgWYkSoQq3a/s320/A0DB283D-8BE5-457A-BF9D-12793077AC95.jpeg" width="276" /></a></div><br /><div><br /></div><div>Ben Tinsley, Dream Lit, oil on canvas, 24x28</div><div><br /></div><div>This piece looked perfect for the kitchen when</div><div>I saw it in McCormick’s booth at Art Expo.</div><div><br /></div><div>It’s the most warm, comfy, and inviting piece in my collection </div><div>though there is a sense of cheerfully making do</div><div>with a world that’s been fractured.</div><div><br /></div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOuUalufE_HKpQwvIFHtiZBY41k4x6koW9bpATw1SPtMrz-UQpZK2sYhYfC-2hmvfZGkW5HzHGglkRdzBJY5378kfMSS8QxpoxQbxqUj_2TIZ9w_rb7WkZXNM4mMz7lx5axT1Z2qW89qs-oIxUxi1O2RkuCngASqDXwLmMgRU_sYV4fvqMNzrQ/s800/A5E9B10E-29C6-44F7-A6D2-6A4C6951426C.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="682" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOuUalufE_HKpQwvIFHtiZBY41k4x6koW9bpATw1SPtMrz-UQpZK2sYhYfC-2hmvfZGkW5HzHGglkRdzBJY5378kfMSS8QxpoxQbxqUj_2TIZ9w_rb7WkZXNM4mMz7lx5axT1Z2qW89qs-oIxUxi1O2RkuCngASqDXwLmMgRU_sYV4fvqMNzrQ/s320/A5E9B10E-29C6-44F7-A6D2-6A4C6951426C.jpeg" width="273" /></a></div><br /><div><br /></div><div>Here, it adds a bit of order to the chaos.</div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6f0Ks5_UiweiFI6If4tZh2geMbcvNvKHxpOcg2RIxyJICBZKhhPgBMMUsK6Lb-_xsEiZaVf8ieCQUcBvOrz9W_y-AOML3PVQQ1SjsY5g4wS6RUxJcWwYSuOT5Q5FEIv2eaFb6wcqckY-wi0Pc2GeQrYGqCG_6mR7DfQliNVnsWvoX5MmW-tcD/s576/1B24D92E-18AE-428D-9BC2-C539D57B79F4.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="576" data-original-width="576" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6f0Ks5_UiweiFI6If4tZh2geMbcvNvKHxpOcg2RIxyJICBZKhhPgBMMUsK6Lb-_xsEiZaVf8ieCQUcBvOrz9W_y-AOML3PVQQ1SjsY5g4wS6RUxJcWwYSuOT5Q5FEIv2eaFb6wcqckY-wi0Pc2GeQrYGqCG_6mR7DfQliNVnsWvoX5MmW-tcD/s320/1B24D92E-18AE-428D-9BC2-C539D57B79F4.jpeg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">Vidvuds Zviedris, Amulet, 15.75 x 15.75", 2021, acrylic on canvas</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Vidvuds makes some really large, spectacular pieces, and this is a very small one - but it still is as wonderful as a reef full of tropical fish. The utterly flat, texture-less blackness always thrills me in contrast to all the smaller areas of color. It’s somewhere in between a small painting and a large piece of jewelry.</div><div class="separator" style="clear: both; text-align: center;"><br /></div>I’ve written about a <a href="https://art.newcity.com/2012/02/28/review-vidvuds-zviedristhomas-mccormick-gallery-and-andre-butzerrhona-hoffman-gallery-2/">2012 show </a> and a <a href="https://art.newcity.com/2016/04/13/escape-to-an-uplifting-realm-of-abstract-beauty-vidvuds-zviedris-at-thomas-mccormick-gallery/">2016 show</a>
<div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIB9znKdNeCCNnfiI3TrmesPY96U4XeeREzoxG5ZSOJc9tW8I75P3n8ic6A-iLBBUWjhRlFyFZ5QDha8HKQELgvGV1HpEhNq3fhJzsmApZcEYKD93SEtLeDXXmW4dfKtukMwfzbV-dAOgzo1Eyf8CWSVipN6Lwp2T_u22cV0JrBt8yQ3wyKPs5/s640/CD6D774F-9D91-45C3-AF34-3D3CAD879A57.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="472" data-original-width="640" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIB9znKdNeCCNnfiI3TrmesPY96U4XeeREzoxG5ZSOJc9tW8I75P3n8ic6A-iLBBUWjhRlFyFZ5QDha8HKQELgvGV1HpEhNq3fhJzsmApZcEYKD93SEtLeDXXmW4dfKtukMwfzbV-dAOgzo1Eyf8CWSVipN6Lwp2T_u22cV0JrBt8yQ3wyKPs5/s320/CD6D774F-9D91-45C3-AF34-3D3CAD879A57.jpeg" width="320" /></a></div><br /><div>John Santoro, Kilanea Lava Flow, 2018, 9"x12" ,2018, oil on canvas</div><div><br /></div><div>The first Santoro painting that I saw was a precise architectural cityscape of an ordinary Chicago street. I wish he did more of those. I’ve reviewed his </div>
<a href="https://art.newcity.com/2011/10/11/review-angel-oterokavi-gupta-gallery-and-john-santoromccormick-gallery/">2011 show at McCormick Gallery</a> and a <a href="
https://art.newcity.com/2016/08/29/abstract-and-expressionist-but-not-quickly-done/"> 2016 show at Richard Gray</a></div><div style="text-align: center;"><br /></div><div style="text-align: center;">There’s a one-inch solid black rectangle in the lower left corner of the above piece that always puzzles and thrills me. I have no idea what it might represent - but without it, the painting would lose its magic. BTW - the pigment is quite thick, so photos fail to convey what it’s like to see.<br />
<div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmRyLqOQPPe6aU5dBt0lUu35z4Nlvo8bXd8zIr45LvEOvnmLP0Hwwh4av_dOpFqvt3dYAeVvBGNJfUpqXRfRubQI3LGvqbOtHQMVz2Md_tRqf0t7tXxbPeLItJzJXUvmwjcUk6Bl25R6zzEV2GjauQ5nzjzoqY9sfTkSi0nTTLXXQA51Oh3pBo/s800/78A1C44F-3E38-4580-B3E2-7C17378C1D20.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="594" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmRyLqOQPPe6aU5dBt0lUu35z4Nlvo8bXd8zIr45LvEOvnmLP0Hwwh4av_dOpFqvt3dYAeVvBGNJfUpqXRfRubQI3LGvqbOtHQMVz2Md_tRqf0t7tXxbPeLItJzJXUvmwjcUk6Bl25R6zzEV2GjauQ5nzjzoqY9sfTkSi0nTTLXXQA51Oh3pBo/s320/78A1C44F-3E38-4580-B3E2-7C17378C1D20.jpeg" width="238" /></a></div><div class="separator" style="clear: both; text-align: center;">Leslie Baum, A Garden in a Vase 8-14-20, acrylic on canvas, 24"x18</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">A fine feminine antithesis to the Uber-masculine Stanley Dean Edwards that hangs beside it on my wall. Like me, Baum seems driven by an aesthetic she developed while growing up with art loving parents - no art school was required. And though her paintings do bring to mind Georgia O’Keefe and Helen Frankenthaler, they seem more driven by a powerful inner need. They feel like snapshots of a dream life. She has no gallery representation, but I’ve written about her in a several exhibitions at the </div>
<a href="https://art.newcity.com/2019/06/10/an-experiment-in-curation-a-review-of-with-a-capital-p/">Elmhurst Art Museum </a>,
<a href="https://art.newcity.com/2016/07/13/in-painting-new-directions-are-hard-to-find/"> Cleve -Carney Museum of Art</a>, and
<a href="http://newcityart.blogspot.com/2022/07/chicag-cultural-center-instrument-in.html">Chicago Cultural Center </a>
<div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><p style="text-align: left;"><br /></p><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKcsiQVfc1sjePmWAAEs8I8OsA6LNVlOHnTxvWWXdx7uQ_RTH6Sk1oSzpPJdZCH7eCpeTZCdDYXZnAY48iKOAF7gVLbYcg_OVgrjdx8VVA3anPAAZLAKRBGc1K9rzpqHHj-zMbf6ApjppO2RYqbY6b2xaR6AXDossUrV-kpmN-WESIP3EoKg/s800/81A84918-AC5E-4C36-9399-574997FAE7EE.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="611" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKcsiQVfc1sjePmWAAEs8I8OsA6LNVlOHnTxvWWXdx7uQ_RTH6Sk1oSzpPJdZCH7eCpeTZCdDYXZnAY48iKOAF7gVLbYcg_OVgrjdx8VVA3anPAAZLAKRBGc1K9rzpqHHj-zMbf6ApjppO2RYqbY6b2xaR6AXDossUrV-kpmN-WESIP3EoKg/s320/81A84918-AC5E-4C36-9399-574997FAE7EE.jpeg" width="244" /></a></div><div class="separator" style="clear: both;">Mary J. Arthur, View from Union League Club Towards Lake Michigan, 12x16, oil on canvas</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">When Mary lived in Chicago a few years back, she briefly joined us in the sculpture studio at the Palette & Chisel and gave us a tour of her studio. I love her urban views that feel both magical and real - so I selected this piece for my <a href="https://pnc-curated.blogspot.com/2022/08/cityscape-chicago.html">Cityscape Chicago exhibition</a>, It feels like a special moment frozen in time.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">It’s serenity is such a delicious contrast with the other cityscape I collected from that show.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQbF6b8xn14D4b9wqXAwWKUd9dMW66L0D90TaV5Q3gU6yenEUznsoCyG8mP3llyMaWHC-P2zUfdWTjAoShTCixL9rGIse928CmV2a3MkIRECuovTKz4jQ34Fpos7C3iI4nBu3JsLd52muGnBkDK-jQuxItTNeGWId-km2sdcCThuvJVTa_vzKV/s800/861D0572-E969-42FB-9173-BD3EC0BC703D.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="517" data-original-width="800" height="207" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQbF6b8xn14D4b9wqXAwWKUd9dMW66L0D90TaV5Q3gU6yenEUznsoCyG8mP3llyMaWHC-P2zUfdWTjAoShTCixL9rGIse928CmV2a3MkIRECuovTKz4jQ34Fpos7C3iI4nBu3JsLd52muGnBkDK-jQuxItTNeGWId-km2sdcCThuvJVTa_vzKV/s320/861D0572-E969-42FB-9173-BD3EC0BC703D.jpeg" width="320" /></a></div><br /><div class="separator" style="clear: both;">Here it hangs with two other small pieces beneath some statuary</div><div><br /></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgKYpmEC8qBexGMd5vOdkJrz9cRhIRLYUodeiXrab3H-38cHuKQsFsBKIwQw5Slw4rq8JbD245PBs4BzfI2h-UKcYCqpkSPa3KR6hhzCW0COFNUvmFLnyw_sr3y6qHAZmm5ORO-uRgwTL118-3lDCEDOb2K3gdlj4rhzU3MfGCfe4MPQxImA/s800/DE6F2C99-935F-4FD4-84B1-90F43664BA6A.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="655" data-original-width="800" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgKYpmEC8qBexGMd5vOdkJrz9cRhIRLYUodeiXrab3H-38cHuKQsFsBKIwQw5Slw4rq8JbD245PBs4BzfI2h-UKcYCqpkSPa3KR6hhzCW0COFNUvmFLnyw_sr3y6qHAZmm5ORO-uRgwTL118-3lDCEDOb2K3gdlj4rhzU3MfGCfe4MPQxImA/s320/DE6F2C99-935F-4FD4-84B1-90F43664BA6A.jpeg" width="320" /></a></div><div class="separator" style="clear: both;">Dmitry Samarov, Lituanica #9 , oil on canvas, 21 x 25</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">I first saw this piece in the gallery of the art department at Dominican University.</div><div class="separator" style="clear: both;">When Dmitry offered to put it into my
<a href="https://pnc-curated.blogspot.com/2022/08/cityscape-chicago.html">
Cityscape Chicago exhibition</a>,
I snapped it up. </div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">It’s not so much about Chicago as about how it feels to wake up in Bridgeport and face another tough day in the big city. Kind of angry and depressing - but also kind of thrilling and hopeful. Like how I felt about the city when I moved here about forty years ago.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">By the way, Dmitry contributes to the Chicago Reader, where he is consistently the best local art critic now writing.
Here is his <a href="https://chicagoreader.com/arts-culture/what-cezanne-saw/">amazing review of the 2022 Cezanne exhibit at the Art Institute.</a> </div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">In the echo chamber academic art history, no one else will tell you that the great Cezanne could not paint the female nude.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><a href="
https://art.newcity.com/2014/02/22/review-dmitry-samarovliving-room-gallery/">Here is my review of his show from 2014</a>
</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><br /></div></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSNj4xHZKXysk0E7KBF9KFhHsPCtQblrS_TS6NOYgwhNuiD-bHqJZByxuRZfu4bLufZRkiQByInhqnKP2FLqNQZb0PDNeExwFi1w0SG2k8pRpvgmGvkyZXnKWnw_sCY-35gIipCtw9ayBGkF2qO0hP9wrpaIlRBpW9-vDVatw57r3QQxB7F6Ht/s800/CE97DE07-EED0-4E47-A86D-6BC9243A6444.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="608" data-original-width="800" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSNj4xHZKXysk0E7KBF9KFhHsPCtQblrS_TS6NOYgwhNuiD-bHqJZByxuRZfu4bLufZRkiQByInhqnKP2FLqNQZb0PDNeExwFi1w0SG2k8pRpvgmGvkyZXnKWnw_sCY-35gIipCtw9ayBGkF2qO0hP9wrpaIlRBpW9-vDVatw57r3QQxB7F6Ht/s320/CE97DE07-EED0-4E47-A86D-6BC9243A6444.jpeg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">Mitch Clark, untitled (from Riff Driven series) 2021, 24 x 30, acrylic on canvas </div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Not really a Chicago artist - but at least I saw him here and he lives downstate </div><div class="separator" style="clear: both; text-align: center;">He is the only university art professor in my collection, but I’m not holding that against him.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil1GXiJsu8kv2k1DEWSOvxqdsrSLkl-JZFfBujvRBIREgqK_HUfb3bFdWKnVSoVB-ovbFxIryVop8Q5sXTdZseEM2_t2ijexMyBgpUBydrjK-FS-qxA4zQ1NB_G31uRVhR1FRWy5H2oGehpkMkxFtbERZRYsDD3_UHcK-KEJ0MeXK0xwfOo0eH/s800/069BC43B-1584-41E6-98EF-C1B229C53045.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="685" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil1GXiJsu8kv2k1DEWSOvxqdsrSLkl-JZFfBujvRBIREgqK_HUfb3bFdWKnVSoVB-ovbFxIryVop8Q5sXTdZseEM2_t2ijexMyBgpUBydrjK-FS-qxA4zQ1NB_G31uRVhR1FRWy5H2oGehpkMkxFtbERZRYsDD3_UHcK-KEJ0MeXK0xwfOo0eH/s320/069BC43B-1584-41E6-98EF-C1B229C53045.jpeg" width="274" /></a></div><br /><div class="separator" style="clear: both; text-align: center;">The piece has been hung behind one of my statues</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">
<a href="http://newcityart.blogspot.com/2022/10/mitch-clark-at-oliva-gallery.html">I have written about him here</a>
</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDyqYi_7tt3EWpmiO0NT0oTyNKe4fCMCEfLCacahCP6xbYK1_Van4LxD9AXLN0vllgMS2oW1vpTjlt1Wpf8MGvzfg2Jn7EysAGWMdQWivTPACvrsL09LNc6Jmsq10ev4e6nBlA__DDd-ImwRsqe55K9jlN7nuEMLMjULp3daTMhjGyGRV6oaaQ/s461/30D18DB1-2972-46F7-9902-9C6881546711.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="461" data-original-width="454" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDyqYi_7tt3EWpmiO0NT0oTyNKe4fCMCEfLCacahCP6xbYK1_Van4LxD9AXLN0vllgMS2oW1vpTjlt1Wpf8MGvzfg2Jn7EysAGWMdQWivTPACvrsL09LNc6Jmsq10ev4e6nBlA__DDd-ImwRsqe55K9jlN7nuEMLMjULp3daTMhjGyGRV6oaaQ/s320/30D18DB1-2972-46F7-9902-9C6881546711.jpeg" width="315" /></a></div><br /><div style="text-align: center;"><br /></div>Stanley Dean Edwards, untitled, 36 x 36</div><div style="text-align: center;"><br /></div><div style="text-align: center;">This is the most forceful, gutsy, lower-chakra piece I own- and I love it.</div><div style="text-align: center;"> You could call it violent- but the conflict is only between shapes of color and brushstrokes. </div><div style="text-align: center;"> I <a href="https://art.newcity.com/2021/09/27/abstract-painting-with-a-passion-for-controlled-violence-a-review-of-stanley-dean-edwards-at-oliva-gallery/">have written about the artist here</a>
</div><div style="text-align: center;"><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div><br /></div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_BEWo8sopAVzDBmhFJJW_wrNG2p0yFESCkTY4zfER7FFEDwX6VbXoSYDaFruI0AGEFSEtE0O0aRVNloDZ0-Z-C4UpEfeVjgI5S3QsH6fX-aN_HJF-lo_vWki8Oe8SCKc4acaZKnwzGWcBdBWQW1qAwWikWPFQIc51L9gRcEbX5Pxwz06LtuDO/s800/33B9D229-294C-44A7-968B-1800E85215C2.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="793" data-original-width="800" height="317" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_BEWo8sopAVzDBmhFJJW_wrNG2p0yFESCkTY4zfER7FFEDwX6VbXoSYDaFruI0AGEFSEtE0O0aRVNloDZ0-Z-C4UpEfeVjgI5S3QsH6fX-aN_HJF-lo_vWki8Oe8SCKc4acaZKnwzGWcBdBWQW1qAwWikWPFQIc51L9gRcEbX5Pxwz06LtuDO/s320/33B9D229-294C-44A7-968B-1800E85215C2.jpeg" width="320" /></a></div><br /><div style="text-align: center;">Poojah Pittie, Midnight Traveler, 40x40, 2021, Acrylic on canvas</div><div style="text-align: center;"><br /></div><div style="text-align: center;">This piece is my favorite - so it hangs right where I will see it the most. </div><div style="text-align: center;">It pulls me into its vortex while it radiates passion and sorrow.</div><div style="text-align: center;"><br /></div><div style="text-align: center;">I’ve written
<a href="
https://art.newcity.com/2019/05/17/eruptions-of-color-a-review-of-pooja-pittie-at-mccormick-gallery/">about her paintings here </a>
</div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCo-FLIqTEOsLXcV7IuvqtRR11MpC939HASbwsB39g6lpjVMWFDG_R2dLem9TZxnLEG3vywxtdiD2MYjzGEfonpxCuW6QevJq5qfVEW9VrCcJe76TS85lAojX9NJACUvl5Jxx7Qq8ixqEfAm-1a3LeEvCgvP4GJjRMX_kDLqFuWdJV2mrCTi8E/s800/0B931ECA-B165-4837-A4D5-38694F58419E.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="642" data-original-width="800" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCo-FLIqTEOsLXcV7IuvqtRR11MpC939HASbwsB39g6lpjVMWFDG_R2dLem9TZxnLEG3vywxtdiD2MYjzGEfonpxCuW6QevJq5qfVEW9VrCcJe76TS85lAojX9NJACUvl5Jxx7Qq8ixqEfAm-1a3LeEvCgvP4GJjRMX_kDLqFuWdJV2mrCTi8E/s320/0B931ECA-B165-4837-A4D5-38694F58419E.jpeg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">Bruce Thorn, Nightingale, 24 x 30, 0il on linen, 2020 </div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">This was the first piece I hung at home - in that place of honor above
<a href="https://mountshang.blogspot.com/2016/03/the-man-upstairs.html">
Milton Horn’s statue of Yahweh </a></div><div class="separator" style="clear: both; text-align: center;">I had recently seen <a href="
https://art.newcity.com/2015/03/04/review-bruce-thornkoehnline-museum-of-art/">Thorn's exhibit at Oakton Community College</a> and I wanted to buy his rhapsodic "Nightsong". Alas - someone beat me to it. But he showed me this piece instead - and it’s intense fecundity was perhaps even a better match for the timeless spirit of being.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilvAao0NddG6QSorYAIjKf6hPQVv8_c5l2RKA_HEe_14a0Yp93GHTV3pKdj0cMWlvxvJHc37Ah8La0LGz9CKO8vKc4z0kGb7C9Gj0TgXjvt59EV9w2EZRyVFlQmh1PknA-mH5gXib2R8uZMS0inKtnK2xwwBqLil4LjAEG6ZuJvF5T1fTFbhTZ/s748/B30AEED8-53DF-464B-948E-D35B4E29A979.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="748" data-original-width="690" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilvAao0NddG6QSorYAIjKf6hPQVv8_c5l2RKA_HEe_14a0Yp93GHTV3pKdj0cMWlvxvJHc37Ah8La0LGz9CKO8vKc4z0kGb7C9Gj0TgXjvt59EV9w2EZRyVFlQmh1PknA-mH5gXib2R8uZMS0inKtnK2xwwBqLil4LjAEG6ZuJvF5T1fTFbhTZ/s320/B30AEED8-53DF-464B-948E-D35B4E29A979.jpeg" width="295" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"> (<span style="font-size: xx-small;">pieces on that shelf, from left to right: </span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: xx-small;">Richard Miller "Io" (marble), Beth Fischer untitled (ink on paper), Milton Horn "Who Walketh upon the Wings of the Wind", Chris Miller torso (resin), Richard Miller "Gloria" (bronze). )</span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Thorn presents himself as a normal midwesterner with an obsession for painting. But he’s more like one of those mystics who, untethered to a conventional mindset, sees the unseen and is compelled to show it. It’s possible that, like Jim Morrison (The Doors), he encountered a dying shaman back when he was growing up in West Africa.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj-cjM9bZRErYDZqCVmyTXW5veF4179kCIghl0q9UfWKoRBrBbyKJRtuDkLKX2vBFAE-X_KX_64agJt6c9XjsmzZuvclxnIKHoAFDUztrbU1K9fYN_NZ2oVOiqt0PqS-pI-FDNYVUHKfVS0fVJENlWNC3YWL0h3jPGNPZDsfKmB_aEVV74ByvR/s800/044F56CE-5431-4DFB-9648-2DB4F9E53DF6.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="788" data-original-width="800" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj-cjM9bZRErYDZqCVmyTXW5veF4179kCIghl0q9UfWKoRBrBbyKJRtuDkLKX2vBFAE-X_KX_64agJt6c9XjsmzZuvclxnIKHoAFDUztrbU1K9fYN_NZ2oVOiqt0PqS-pI-FDNYVUHKfVS0fVJENlWNC3YWL0h3jPGNPZDsfKmB_aEVV74ByvR/s320/044F56CE-5431-4DFB-9648-2DB4F9E53DF6.jpeg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Kathleen Waterloo, Plot Twist, 42x42, encaustic on panel, 2016</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">I bought my first painting to hang above a doorway in my commercial buiilding - located where tenants would see it every time they went outside. It feels so cheerful and invigorating — so full of positive urban energetic - like a block party.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"> I wrote about the artist <a href="https://art.newcity.com/2012/07/10/review-kathleen-waterlooaddington-gallery/">here </a>
</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">I’ve seen her work at Addington Gallery, the Bridgeport Art Center, and Woman Made Gallery — and in each location, her piece is the one that makes me feel happy.</div><br /><div style="text-align: center;"><br /></div></div>
chris millerhttp://www.blogger.com/profile/09575033275184403015noreply@blogger.com0tag:blogger.com,1999:blog-19047760.post-76187037598841329522023-07-20T11:22:00.008-05:002023-07-27T13:37:32.150-05:00Biking to galleries : 7-15-2023<p> </p><p><br /></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZBVeV9Yi6R5OeSldAk50HidmcR6Elt6AmJo61Gy85OJK-iUyLgvzdyThezHQERRrkxb1qUQuvK0H3wUshCixqPzPKOmgVdyvF911-aSyO_eLJ0TrWPSALLDsJAKfGjZwVeYs1lZiJYwgJMzCe7OyuOg5l5HTxQQCo23r06yeGBfa_J5HWpytg/s800/8EE8E9BF-08E1-4658-B8AF-C48AE222ABA6.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="589" data-original-width="800" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZBVeV9Yi6R5OeSldAk50HidmcR6Elt6AmJo61Gy85OJK-iUyLgvzdyThezHQERRrkxb1qUQuvK0H3wUshCixqPzPKOmgVdyvF911-aSyO_eLJ0TrWPSALLDsJAKfGjZwVeYs1lZiJYwgJMzCe7OyuOg5l5HTxQQCo23r06yeGBfa_J5HWpytg/s320/8EE8E9BF-08E1-4658-B8AF-C48AE222ABA6.jpeg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">Susan Alforque Silvano, Intimazzy - Swiss Train Ride, 12 x 15</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">This trip began at a new venue, Epiphany Center for the Arts, a re-purposed Anglican Church on Ashland near Adams - now a venue for concerts, parties, and art exhibitions. </div><div class="separator" style="clear: both; text-align: center;">My first stop was "The Happiness Show" on the second floor, sponsored by the Chicago Alliance for Visual Arts, an organization of artists over 50.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">The above piece was the only one that appealed to me. </div><div class="separator" style="clear: both; text-align: center;">Sentimental? No doubt.</div><div class="separator" style="clear: both; text-align: center;">But there’s nothing wrong with loving people, and this artist developed spatial design simultaneously with telling a story ( an affectionate elderly couple sleeping through the spectacular sights on a scenic train ride through the Alps)</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJlp5RToHVGktkECPduvA8-stWoq-xnA5Rj_D8nNEhKWngsobWEJdaVOlJXep2QZwuy-ZGuM6a3u3cSDL8Qb3eMwNoceeV9UTv4vUkqcnX4rSoupdaNTgYJhIOLc0jB3hee6nTNBJfgE5YYcMdMdaBR22L8xssvABb2w5KAifpJ4kZa7cKvYf4/s800/0D852C3D-6061-472F-98EA-639B397ED135.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="763" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJlp5RToHVGktkECPduvA8-stWoq-xnA5Rj_D8nNEhKWngsobWEJdaVOlJXep2QZwuy-ZGuM6a3u3cSDL8Qb3eMwNoceeV9UTv4vUkqcnX4rSoupdaNTgYJhIOLc0jB3hee6nTNBJfgE5YYcMdMdaBR22L8xssvABb2w5KAifpJ4kZa7cKvYf4/s320/0D852C3D-6061-472F-98EA-639B397ED135.jpeg" width="305" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjESdVJSToRrdEVLnG3eD2rjqBi6jAeW0caB6OrAa018ZDrRen2_A9q0Cw1eGKPowwGjTArEINpLjv7KXOZvqRQFa-3kqeB8x85vRvJY1RVvK5RwtSIkQVP4Bsw92iWUa84l-enBrKfzi5eJMqr1AwyWOyOvxWL2iwwD_K7g0uveKqzP3UyxAaz/s800/50949593-49EE-4F68-9933-4B6CD4F99C27.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="394" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjESdVJSToRrdEVLnG3eD2rjqBi6jAeW0caB6OrAa018ZDrRen2_A9q0Cw1eGKPowwGjTArEINpLjv7KXOZvqRQFa-3kqeB8x85vRvJY1RVvK5RwtSIkQVP4Bsw92iWUa84l-enBrKfzi5eJMqr1AwyWOyOvxWL2iwwD_K7g0uveKqzP3UyxAaz/s320/50949593-49EE-4F68-9933-4B6CD4F99C27.jpeg" width="158" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Here are some stained glass windows prominently displayed in the the church’s de-sanctified nave. </div><div class="separator" style="clear: both; text-align: center;">They were designed by Chicago’s iconic Edgar Miller - but I was not especially enthralled. The central figure is so stiff and boring - while the figures on each side are so wimpy. All that’s invigorating are the patches of color - and they feel better suited to an athletic facility than a place of worship.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioJ7_G2JbYlmh6Tgh4wsimlXfQDsOKx7YtAfLJOsYYtEFhZF5DChI_nG_CF2h1vBStOBPltql9mpEaOthldkSR0yJEW9C7u5kdxgSWZodAHWv1WYtO-r9vwpgOW0tIKqkRL6AKI6n6z_uZlWPYPiqkx_MmzMQDQ1xLnGA-eld-NzMb89tfC8kr/s800/60E03FDB-C2C2-4339-8663-41A45E4E1792.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="794" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioJ7_G2JbYlmh6Tgh4wsimlXfQDsOKx7YtAfLJOsYYtEFhZF5DChI_nG_CF2h1vBStOBPltql9mpEaOthldkSR0yJEW9C7u5kdxgSWZodAHWv1WYtO-r9vwpgOW0tIKqkRL6AKI6n6z_uZlWPYPiqkx_MmzMQDQ1xLnGA-eld-NzMb89tfC8kr/s320/60E03FDB-C2C2-4339-8663-41A45E4E1792.jpeg" width="318" /></a></div><div class="separator" style="clear: both; text-align: center;">Laura Myntti, after Milton Avery</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcKfMcW7HJJCl9jazR6OZ3IAtM_dF2Y-lFTfiqQV6Xa6OhaDDaCJe_zEcDtdhx-WC6eTzmpK1YPw7xXwTkSqJ2k7p40ImGKPq0YKPo9fCbGCJEz73jM3_g-bZ88RQuz1TMwvJJDxB3km56OU_7-LPytaKJHCU5E6Ewz3cfztjLkTg1LWpkLwDC/s768/A391499B-8732-4D3C-BB55-E0513E3F5024.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="594" data-original-width="768" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcKfMcW7HJJCl9jazR6OZ3IAtM_dF2Y-lFTfiqQV6Xa6OhaDDaCJe_zEcDtdhx-WC6eTzmpK1YPw7xXwTkSqJ2k7p40ImGKPq0YKPo9fCbGCJEz73jM3_g-bZ88RQuz1TMwvJJDxB3km56OU_7-LPytaKJHCU5E6Ewz3cfztjLkTg1LWpkLwDC/s320/A391499B-8732-4D3C-BB55-E0513E3F5024.png" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;">Milton Avery, Red Rock Falls, 1947</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">
<a href="https://art.newcity.com/2023/06/20/quietly-subversive-a-review-of-laura-myntti-new-work-at-epiphany-center-for-the-arts/">Vera Scekic's review in New City </a> alerted me to this show. When was the last time you saw an exhibit of one artist paying this kind of tribute to another? I have never seen one - yet - it certainly can be fascinating for the viewer, and probably useful for the artist. Remember all those "copies" that Rubens made of Titian? They’re not really copies - they‘re just pieces that began where the earlier artist left off.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div>
<a href="https://newcityart.blogspot.com/2023/07/laura-myntti-at-epiphany-art-center.html">I've written more about her here.</a>
<div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijPwJp53uvurfp3zv7BOH6E2Qc1hrfe6PsuK3zA6XoXbmIrMZp4BiYhsJ1PH49QZ_niO0scNX8gN841mVS4-ZPz4wE6wTIj0oEfsCtjf4IwwXlIFxVOxPgQJI37zpPH_rHfIv53TcAlUm_2dJTbPhhxIkQWR4drra-Fop9F2yl73j1gLvEmp51/s800/7C729039-0BF7-4CC6-B3B4-2C6DA0C71E46.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="688" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijPwJp53uvurfp3zv7BOH6E2Qc1hrfe6PsuK3zA6XoXbmIrMZp4BiYhsJ1PH49QZ_niO0scNX8gN841mVS4-ZPz4wE6wTIj0oEfsCtjf4IwwXlIFxVOxPgQJI37zpPH_rHfIv53TcAlUm_2dJTbPhhxIkQWR4drra-Fop9F2yl73j1gLvEmp51/s320/7C729039-0BF7-4CC6-B3B4-2C6DA0C71E46.jpeg" width="275" /></a></div><div class="separator" style="clear: both; text-align: center;">Omar Velazquez, vocetero, 90" x 62"</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Then I biked west on Fulton to Corbett Vs. Dempsey.</div><div class="separator" style="clear: both; text-align: center;">The small Kapsalis retrospective did indeed span nine decades,</div><div class="separator" style="clear: both; text-align: center;">but not with any Kapsalis that I want to look at.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">I did, however, really like the bizarre pieces by the much younger Puerto Rican artist, Omar Velazquez.</div><div class="separator" style="clear: both; text-align: center;">The large, actual paintings are so much more engaging than the small online reproductions.</div><div class="separator" style="clear: both; text-align: center;"> </div><div class="separator" style="clear: both; text-align: center;"> <a href="https://newcityart.blogspot.com/2023/07/omar-velazquez-at-corbett-vs-dempsey.html">I have written about this show here </a>
</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguKBgWY354txioG3sJa9xOXqQmHcX9ejjCj85hqu8FfbDTy35deM7c05RObHCdC02lBmBl21eWDfF_J6dVNq1wP24ZaSeo62ZjkYZSstydb6qipGQ88x9DBL69ZxSvhZ_Ju-ffYKN8iWYApyCItJVx1V4OCP3qaBa6-ZB-WAKccfFc94F-B1nA/s800/712D5588-979D-4FE1-B528-9BCC7CAAE15C.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="603" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguKBgWY354txioG3sJa9xOXqQmHcX9ejjCj85hqu8FfbDTy35deM7c05RObHCdC02lBmBl21eWDfF_J6dVNq1wP24ZaSeo62ZjkYZSstydb6qipGQ88x9DBL69ZxSvhZ_Ju-ffYKN8iWYApyCItJVx1V4OCP3qaBa6-ZB-WAKccfFc94F-B1nA/s320/712D5588-979D-4FE1-B528-9BCC7CAAE15C.jpeg" width="241" /></a></div><div class="separator" style="clear: both; text-align: center;">Molly Zuckerman-Hartung,The Covalent Bonding of Satire & Whimsy </div><div class="separator" style="clear: both; text-align: center;">in the Oeuvre of Paul Klee Before, Between, and After the War (s), 14.5 x 11
</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">I was hoping to buy something small by Magalie Guerin or Molly Z-H, </div><div class="separator" style="clear: both; text-align: center;">but the inventory that John Corbett offered me was only one piece by each,</div><div class="separator" style="clear: both; text-align: center;">even though several other small pieces were up on the website.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">The above piece is indeed interesting .</div><div class="separator" style="clear: both; text-align: center;">Molly Z-H thinks and writes about modern painting with her own blend of satire and whimsy.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">It is not, however, typical of her intense inventiveness with paint and fabric.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">It’s beginning to make more sense to look harder for local artists not found in major galleries - though it is difficult to like a new artist on first viewing. I’ve seen many pieces by M.Z.H. and Guerin over the past decade - allowing me to grow quite fond of them.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">And - I am running out of wall space - so maybe I should reserve some for dazzling artists yet to be found. New ones are always popping up.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><p><br /></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYRHSdkqJuugZGlfbMJTVRhSxiIPVKRlMwGa7AvVzSQ_lG4gpSUAzVvnEgtJBf8lx9uNcLx1pQB_ZizsrNMDfLzIp0FFb5gAO0jCk43qtubZFaRydhXCho5qoVDSkG4b-uItRJXUPcRt8-Nhadj0dOE_xiNfFvGVaE0q4o-oUuPYrIkDF06m1YxN376ZU/s800/526F02D8-714A-4675-9E18-F5DBC9DDC580.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="661" data-original-width="800" height="264" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYRHSdkqJuugZGlfbMJTVRhSxiIPVKRlMwGa7AvVzSQ_lG4gpSUAzVvnEgtJBf8lx9uNcLx1pQB_ZizsrNMDfLzIp0FFb5gAO0jCk43qtubZFaRydhXCho5qoVDSkG4b-uItRJXUPcRt8-Nhadj0dOE_xiNfFvGVaE0q4o-oUuPYrIkDF06m1YxN376ZU/s320/526F02D8-714A-4675-9E18-F5DBC9DDC580.jpeg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">Yulia Gasio, Escaping Violence, 60 x 72, 2019</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Then it was off to the Ukrainian Institute of Modern Art.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">It’s hard not to constantly think about the unfolding tragedy of the Russian invasion, so it’s quite appropriate for UIMA, or really, any museum, to present this kind of show. The artist is a young woman who came to the US from Donbas just before Russian paramilitaries began violating the border.</div><div class="separator" style="clear: both; text-align: center;">Fear and despair permeate her recent work.
<a href="https://newcityart.blogspot.com/2023/07/yulia-gasio-at-uima.html">I have written about this show here</a>
</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdppsVlIUekHMPHfLKquHHzZ2rDpcDmI9AvHHN3KOw2QqPG591OvVHPGBdIx1fPcVt0q6X0QhdJHKdz31cPZlul85G6T72O3-BqwYYRM6AQzNOqiyez856og1S3eHaSQ9OyzRfeLscu-wbOYLFj3zgnUk5gXiEcSu-SoKRhv_iynnHowTp7GGV/s800/73A3044F-BCA1-4989-86A3-1D3C79877222.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="795" data-original-width="800" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdppsVlIUekHMPHfLKquHHzZ2rDpcDmI9AvHHN3KOw2QqPG591OvVHPGBdIx1fPcVt0q6X0QhdJHKdz31cPZlul85G6T72O3-BqwYYRM6AQzNOqiyez856og1S3eHaSQ9OyzRfeLscu-wbOYLFj3zgnUk5gXiEcSu-SoKRhv_iynnHowTp7GGV/s320/73A3044F-BCA1-4989-86A3-1D3C79877222.jpeg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">Yevhen Prokopov, Leda and Swan, 1985</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Concurrently, the museum is presenting a bit of its permanent collection as selected by current staff.</div><div class="separator" style="clear: both; text-align: center;">I collect <a href="https://mountshang.blogspot.com/2007/10/leda-and-swan.html">images of Leda </a>, so this piece fascinated me. It’s also got that intriguing figurative elongation often found in Ukrainian art. It’s like they’re always trying to stretch the edge of possibility.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">The sculptor typifies the versatile professionalism of USSR artists, though he was only about 30 when Ukraine became independent. Online, you can see that he is quite good at portraits, religious statuary and public monuments. </div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">I don’t see much Leda here -</div><div class="separator" style="clear: both; text-align: center;">but there certainly is plenty of Brancusi.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVOPlmrUJ3L1cBbPmvh93U3up0qAZioqA4zWcOo6q6WOedtzl3vSNwHzbM4-r31rhBYqJSlYXEbb8QSUoKA_LSsqKD_N8hF8BOEz-REWBIeij8T3m2TJVtxgH7go53CL265s0PZFfwNg_t5h59VAx6MKFQLpmGyvJQ4GWQuiQnsCjbTJBR2Mwy/s800/6FD4F641-AF74-4072-A92A-7822B6599499.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="776" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVOPlmrUJ3L1cBbPmvh93U3up0qAZioqA4zWcOo6q6WOedtzl3vSNwHzbM4-r31rhBYqJSlYXEbb8QSUoKA_LSsqKD_N8hF8BOEz-REWBIeij8T3m2TJVtxgH7go53CL265s0PZFfwNg_t5h59VAx6MKFQLpmGyvJQ4GWQuiQnsCjbTJBR2Mwy/s320/6FD4F641-AF74-4072-A92A-7822B6599499.jpeg" width="310" /></a></div><div class="separator" style="clear: both; text-align: center;">Tyler Bernard Anthony, Melting Lake Michigan</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">The Very Serious Gallery opened last year on Milwaukee south of Chicago.</div><div class="separator" style="clear: both; text-align: center;">The young gallerist sells the work of young local artists</div><div class="separator" style="clear: both; text-align: center;">who focus on themselves rather than art theory or social justice.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Which is to say,</div><div class="separator" style="clear: both; text-align: center;">you will not find newly minted MFA’s. </div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">
<a href="https://newcityart.blogspot.com/2023/07/tyler-bernard-anthony-at-very-serious.html">I wrote about this show here</a>
</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvyz4ICSy-G4Yi5Sh_Ot3BVtMbRxDF-j5WRqPHh64yP537O2qbL7trBKI7HLLz_vwZDXNc_DXLndjRBJWWXt21KnF9PdjcEjZrCu8_WqgJmDiSPCGHVtKYS4F1YjggG2ISrTXZremTXYkeVohyhgAubT6-PhOEQ3V7t9xZ-j9ST-efwNP6d8Sp/s800/34E165A6-444B-4EAD-B035-05F708681BB0.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="633" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvyz4ICSy-G4Yi5Sh_Ot3BVtMbRxDF-j5WRqPHh64yP537O2qbL7trBKI7HLLz_vwZDXNc_DXLndjRBJWWXt21KnF9PdjcEjZrCu8_WqgJmDiSPCGHVtKYS4F1YjggG2ISrTXZremTXYkeVohyhgAubT6-PhOEQ3V7t9xZ-j9ST-efwNP6d8Sp/s320/34E165A6-444B-4EAD-B035-05F708681BB0.jpeg" width="253" /></a></div><div class="separator" style="clear: both; text-align: center;">Zack Sanyour, Tallulah, 38" x 31"</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Zolla-Lieberman’s summer potpourri looked to be a good opportunity to discover artists I’d never seen before, and indeed it was.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">I’d love to see a solo show by Zack Sanyour, a recent graduate of RISD.</div><div class="separator" style="clear: both; text-align: center;">I’ve got no idea what the above image might have meant to him,</div><div class="separator" style="clear: both; text-align: center;">but often art cultivates mysteries.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKeeRSVQlGdXI6ftaO9Qg0ipwD4KLMBwgJrx0JNPLdDCDT25SJ-0nzHGYDzf7oQPYHCvUdiIx_rmC-3bBTlByL_VaCbR8sOrYfLTEWLqDLrBk6_wsjISomGyKugkaidpwk3ap1olmgaPBhkpN9GfHIPXohy3xa5FxxbS26loDOt7FRyx57Y8fP/s800/B6C63955-4B54-4CFF-A7E8-D9D0C6104C57.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="728" data-original-width="800" height="291" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKeeRSVQlGdXI6ftaO9Qg0ipwD4KLMBwgJrx0JNPLdDCDT25SJ-0nzHGYDzf7oQPYHCvUdiIx_rmC-3bBTlByL_VaCbR8sOrYfLTEWLqDLrBk6_wsjISomGyKugkaidpwk3ap1olmgaPBhkpN9GfHIPXohy3xa5FxxbS26loDOt7FRyx57Y8fP/s320/B6C63955-4B54-4CFF-A7E8-D9D0C6104C57.jpeg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">Frank Paluch</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiURCeetPEWVNAttVPW4s_O2JVeIBJZCBrJzPauAT5tFcuMxn6p8VkglI5kJmK0YuSM8J-0g1X7gfgOoLSQVhc4cxXMoFBmja1jy1QqAzGgRtarmBPidlHL_0ijzJa9QJfWzdUHrjSCYtxJH5fBk6Hw95mpiYIgox7SrjgHSb2DY0orzwyYaB_T/s800/16DC0919-D0CC-4EC6-A7BD-B680E33AC086.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="762" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiURCeetPEWVNAttVPW4s_O2JVeIBJZCBrJzPauAT5tFcuMxn6p8VkglI5kJmK0YuSM8J-0g1X7gfgOoLSQVhc4cxXMoFBmja1jy1QqAzGgRtarmBPidlHL_0ijzJa9QJfWzdUHrjSCYtxJH5fBk6Hw95mpiYIgox7SrjgHSb2DY0orzwyYaB_T/s320/16DC0919-D0CC-4EC6-A7BD-B680E33AC086.jpeg" width="305" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Frank owned
<a href="https://mountshang.blogspot.com/2016/06/remembering-perimeter-gallery.html">Perimeter Gallery </a> - a regular stop on my gallery tours until it closed seven years ago. </div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">I really appreciate his East-Asian aesthetic - though my own will have to mature before I can really enjoy the above thumb-sized wabi-sabi miniature.</div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><p><br /></p>chris millerhttp://www.blogger.com/profile/09575033275184403015noreply@blogger.com0tag:blogger.com,1999:blog-19047760.post-13669705087092570862022-12-17T16:10:00.007-06:002022-12-17T20:25:03.002-06:00Exhibition: The Language of Beauty in African Art - Art Institute of Chicago<div><p> </p></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7WP4QkExFg_q2z2k5yV9-btsltiW2aK-methc0S7a6A9LGLib5JxQvqVtq0ME3vLfpqoEyQeVDA2jI0jBKyIYiln7WtwWuBRuO_KjFIyzRUGxp4-U6Sg9INPcYcCs4f6D-D6tv8brkMyFztUXDH9duyQ_yTssQCMZ4Gy7E2-VbvNUlJfqUg/s794/2BECCD66-7D00-4FB8-AEF1-057E17717EB8.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="794" data-original-width="514" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7WP4QkExFg_q2z2k5yV9-btsltiW2aK-methc0S7a6A9LGLib5JxQvqVtq0ME3vLfpqoEyQeVDA2jI0jBKyIYiln7WtwWuBRuO_KjFIyzRUGxp4-U6Sg9INPcYcCs4f6D-D6tv8brkMyFztUXDH9duyQ_yTssQCMZ4Gy7E2-VbvNUlJfqUg/s320/2BECCD66-7D00-4FB8-AEF1-057E17717EB8.jpeg" width="207" /></a></div><div><br /></div><div><br /></div><div><br /></div><div><div><p>This is the richest collection of African sculpture I have ever seen - even though it contains not a single royal bronze from Benin despite it’s focus on West Africa. It is also expertly lit and labeled.</p>What's problematic is the stated attempt to "<span style="color: #ffa400;">decolonize the Western aesthetic standards long placed on these objects and to elevate the local indigenous perspectives of the works’ makers and communities</span>. "</div><div></div><div><p>Gallery text tells us the local African words for various aesthetic qualities — but the eye that selected all the examples is European - as is the furniture, lighting, and text that presents them. "Virtue signaling" refers to speech whose primary content appears to be the virtue of the speaker. Isn’t that what is happening here?</p><p>Far from being "decolonized", traditional Western aesthetic standards are on full display. Perhaps that is not such a bad thing if we allow that Western eyes (or, at least some of them) can appreciate whatever visual quality some African eyes once demanded back when these pieces were made. A hundred years ago that kind of elitist universalism, as exemplified by Andre Malraux, was mainstream. Today, however, we may note how important it is to conceal it. </p></div></div><div><br /></div><div><br /></div><div><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDW4IyrjR3IGjM3oh2ylF54GnKxDXR4rOAccB28DMFAZpylH7G4c1Mp3fBMgW4qbKiiY39Ngd_7d_p7Jy6T1sZ8B9d_yOm1YK6OPFnEm6diGmCuCldKmcgqvA3s_76nlITP339hYH91TCH9sSAlFhd2d4mXkBeie-imjuKaJdlXUx9ZSTiKg/s800/79C5DB4D-87B6-48B8-A891-370F5B5DFCBD.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="522" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDW4IyrjR3IGjM3oh2ylF54GnKxDXR4rOAccB28DMFAZpylH7G4c1Mp3fBMgW4qbKiiY39Ngd_7d_p7Jy6T1sZ8B9d_yOm1YK6OPFnEm6diGmCuCldKmcgqvA3s_76nlITP339hYH91TCH9sSAlFhd2d4mXkBeie-imjuKaJdlXUx9ZSTiKg/s320/79C5DB4D-87B6-48B8-A891-370F5B5DFCBD.jpeg" width="209" /></a></div><div class="separator" style="clear: both; text-align: center;">Ngbandi ?, Congo, Ubangi District, 19th to early 20th</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">This is my favorite piece in the show.</div><div class="separator" style="clear: both; text-align: center;">No sense of the divine here - just an ordinary man ready to do his bit.</div><div class="separator" style="clear: both; text-align: center;">I’d call it "humanism"</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Some pre-Heian Japanese carvings have a similar, simple power.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxmLpX7S8ThvNhgtHke_v4Ms2cGJo6Rcr6BXZcLQseyZYe-816w2T5ncXNV9hxwu8BrSAoKfS8ZLKjrRyGAUyghwZqIDq9vjZUF-pc3-lBNo9yDcd3WUMvwIXWaunAqpjAHOqofmXQeyKdlURoON7VmCRTWBfBfB75mLYzj0rEwQvL5Fk0ug/s800/F7D9417C-04C0-4DF9-A70A-C413E0FD91E0.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="471" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxmLpX7S8ThvNhgtHke_v4Ms2cGJo6Rcr6BXZcLQseyZYe-816w2T5ncXNV9hxwu8BrSAoKfS8ZLKjrRyGAUyghwZqIDq9vjZUF-pc3-lBNo9yDcd3WUMvwIXWaunAqpjAHOqofmXQeyKdlURoON7VmCRTWBfBfB75mLYzj0rEwQvL5Fk0ug/s320/F7D9417C-04C0-4DF9-A70A-C413E0FD91E0.jpeg" width="188" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyrHIHI3_kQi3PrXN2IeVRw0Bc1JJJg7GBsiJmREUXnK7yBe-DNMv51OPCfK5TovTL13mGU6K2cHHai2lTvKyg4FgOgJscN4A5jVmGk7phta6kjlxjmg10HUfH-em5VomLDn1Dn1DYEgBRsJ3FIy9qWEPCNYmrRN7QiRH3fnWKMggnC3H5vw/s800/FCC3E67E-CB41-4D62-9D6D-67EB3AD7F249.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="675" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyrHIHI3_kQi3PrXN2IeVRw0Bc1JJJg7GBsiJmREUXnK7yBe-DNMv51OPCfK5TovTL13mGU6K2cHHai2lTvKyg4FgOgJscN4A5jVmGk7phta6kjlxjmg10HUfH-em5VomLDn1Dn1DYEgBRsJ3FIy9qWEPCNYmrRN7QiRH3fnWKMggnC3H5vw/s320/FCC3E67E-CB41-4D62-9D6D-67EB3AD7F249.jpeg" width="270" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;">The Ngbandi people of the upper Ubangi River ( Congo) may have had a great tradition in wood carving - or maybe not. The Belgians who originally collected these pieces could only guess at the origin of these carvings. Wikipedia tells a rather grim story of how the Ngbandi were treated by the Belgian government in the late 19th century.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Similar, and excellent, examples are occasionally offered for sale online, and some were recently donated to the <a href="https://www.clevelandart.org/art/2010.459" style="text-align: left;">Cleveland Museum of Art</a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">The style is echoed by a contemporary sculpture shown below -</div><div class="separator" style="clear: both; text-align: center;">though with a political purpose and a pathetic effect:</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDRaQLoQzuLVD2ps7QAjtOCkkl9X7GqZt5LUH-oeiwaJk_iSDrO8koL7vpyBepe82DcY2vPUbAGmDvoM9e2Pg1qZmC62y-n5bBu-bfe3SH-KyqNoH1Sf9HiPh7zS_ySm3mF3jcIDRoW-sENNejGWWPBDd0TOYkNH9KRPLmevEoO6NlXyjbBA/s800/942DCCE0-888E-4BC0-A241-D126B91B56A1.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="445" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDRaQLoQzuLVD2ps7QAjtOCkkl9X7GqZt5LUH-oeiwaJk_iSDrO8koL7vpyBepe82DcY2vPUbAGmDvoM9e2Pg1qZmC62y-n5bBu-bfe3SH-KyqNoH1Sf9HiPh7zS_ySm3mF3jcIDRoW-sENNejGWWPBDd0TOYkNH9KRPLmevEoO6NlXyjbBA/s320/942DCCE0-888E-4BC0-A241-D126B91B56A1.jpeg" width="178" /></a></div><div class="separator" style="clear: both; text-align: center;">Theaster Gates, Richard Gray Gallery</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggJc_5eV_X0kSMd47LCipgK9b3eIbKWyyI4epO-R5mp-0LEU-JgNz2QDyIvfNZp6DvnNU806CcA7aqAHiabtAEICmCENZ4R3e7KEvAV3PSnvRf3ut9HdosxmzbgnK4_GCoCK6FJPAVDkNTH6_au84ERsYbAm0V2qnn3Emd3j90JPayTpx6xA/s800/1946F9BF-E6CE-4A55-B717-2398CB627893.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="494" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggJc_5eV_X0kSMd47LCipgK9b3eIbKWyyI4epO-R5mp-0LEU-JgNz2QDyIvfNZp6DvnNU806CcA7aqAHiabtAEICmCENZ4R3e7KEvAV3PSnvRf3ut9HdosxmzbgnK4_GCoCK6FJPAVDkNTH6_au84ERsYbAm0V2qnn3Emd3j90JPayTpx6xA/s320/1946F9BF-E6CE-4A55-B717-2398CB627893.jpeg" width="198" /></a></div><div class="separator" style="clear: both; text-align: center;">Lega people, Iginga figure, late 19th, early 20th C.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Another one of my favorites.</div><div class="separator" style="clear: both; text-align: center;">Cute in content but not in form.<br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm9f5JFWmLuiqv1-I0AJotrXArKDssx4Ww-myDZNWHhyjib70e1BR7-vEXCzXT-knTzsuUGotNEzQlaUfTJbuiA9lj4ibyfghZm6svCJa9Otc2tLBGabX6rvqGlujmuNAfjtQfCUkavJ0LER3JDHXLlP9XHdet9P2SxUnghPjXP5y-F3k6Aw/s800/6FFADBEF-D076-49BF-95F2-6BBB096DAC2A.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="604" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm9f5JFWmLuiqv1-I0AJotrXArKDssx4Ww-myDZNWHhyjib70e1BR7-vEXCzXT-knTzsuUGotNEzQlaUfTJbuiA9lj4ibyfghZm6svCJa9Otc2tLBGabX6rvqGlujmuNAfjtQfCUkavJ0LER3JDHXLlP9XHdet9P2SxUnghPjXP5y-F3k6Aw/s320/6FFADBEF-D076-49BF-95F2-6BBB096DAC2A.jpeg" width="242" /></a></div><br /><div class="separator" style="clear: both; text-align: center;">Lega</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Another ethnic group now in the Peoples Republic of Congo,</div><div class="separator" style="clear: both; text-align: center;">though on the opposite side of the country.</div><div class="separator" style="clear: both; text-align: center;">There is also a great example in
<a href="https://commons.m.wikimedia.org/wiki/File:WLA_brooklynmuseum_Lega_Figure_Iginga_2.jpg#mw-jump-to-license">the Brooklyn Museum</a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><span style="color: #ffa400;"><span style="-webkit-text-size-adjust: auto; font-family: Arial; font-size: 11pt; text-align: start; white-space: pre-wrap;">…figurines were usually displayed only during initiations into the highest level of the men only Bwami association. Associated with proverbs and serving as memory aids, such sculptures were also sacred objects, Their weight of significance comes through in the label for them as "heavy things” …. , An intrinsic transcendental force gives all Bwame objects the power to heal or harm. If no other medical remedy could prove effective, particles taken from a wooden or ivory figurine, typically by scraping or rubbing its surface with sandpaper like leaves, would be mixed with water and given to a person to drink.</span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: #ffa400;"><span style="-webkit-text-size-adjust: auto; font-family: Arial; font-size: 11pt; text-align: start; white-space: pre-wrap;"><br /></span></span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br style="-webkit-text-size-adjust: auto; text-align: start;" /><br style="-webkit-text-size-adjust: auto; text-align: start;" /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">(Note: text in orange comes from gallery signage)</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSUBDkpngtggYqV6cQsAWNQCpESLBtJmhJF3dwySitqK3rlQ96Jkj3iqbuId3hXCQB8duLooXTtiKmhpiKFqAIbQJjBifSSxKbqj6KFVszTaHq19W8GgycQB2_GOycNqECjqhO9wk_J_2nYrpaXcsfWFkFQAN9irUzbUXobeJQ5z32vpD_EQ/s800/4B305A65-3AFC-4106-B193-3C2B02C3CC0F.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="626" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSUBDkpngtggYqV6cQsAWNQCpESLBtJmhJF3dwySitqK3rlQ96Jkj3iqbuId3hXCQB8duLooXTtiKmhpiKFqAIbQJjBifSSxKbqj6KFVszTaHq19W8GgycQB2_GOycNqECjqhO9wk_J_2nYrpaXcsfWFkFQAN9irUzbUXobeJQ5z32vpD_EQ/s320/4B305A65-3AFC-4106-B193-3C2B02C3CC0F.jpeg" width="250" /></a></div><div class="separator" style="clear: both; text-align: center;">Luba - Staff of Office (kibango), 19th c.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><p dir="ltr" style="-webkit-text-size-adjust: auto; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: start;"><span style="color: #ffa400;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">Staffs like this one are always the property of kings, chiefs, diviners, dignitaries, or other titleholders. A newly appointed chief would hold a staff in one hand as he swore his oath of office. Read from top to bottom, it also functioned as a chronicle legitimizing its owner's anthority. The iron point and the copper wrapped around its shaft signal wealth and stability. A staff also acquired supernatural qualities and powers when medicines were inserted into the hairstyle of the figure on its crowning finial, enabling the sculpture to cure and protect its owner and those under his influence.</span></span></p><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="text-align: center;">The Luba were from southwest Congo<span style="-webkit-text-size-adjust: auto;">. They were developing an empire and metal technology when their budding civilization was destroyed by Belgian and Arab raiders.</span></div><div style="text-align: center;"><span style="-webkit-text-size-adjust: auto;"><br /></span></div><div style="text-align: center;"><span style="-webkit-text-size-adjust: auto;"><br /></span></div><div style="text-align: center;"><span style="-webkit-text-size-adjust: auto;"><br /></span></div><div style="text-align: center;"><span style="-webkit-text-size-adjust: auto;">Perhaps this is the time to note how many of these pieces were made in the Congo and how many of </span></div><div style="text-align: center;"><span style="-webkit-text-size-adjust: auto;">them come from Belgian collections. The curator is a Belgian himself - perhaps explaining both his interest and access to this work. </span></div><div style="text-align: center;"><span style="-webkit-text-size-adjust: auto;">(BTW - one of my earliest sculptures was a 3-D map of the Belgian Congo, age 9)<br /></span></div><div style="text-align: center;"><span style="-webkit-text-size-adjust: auto;"><br /></span></div><div style="text-align: center;"><span style="-webkit-text-size-adjust: auto;">We might also note that almost everything in this exhibit dates to the era of European colonization. Earlier pieces could not survive the tropical climate while later pieces are considered less authentic on the art market . Having destroyed native social and political structures, the invaders then determined that everything made thereafter was worthless.</span></div><div style="text-align: center;"><span style="-webkit-text-size-adjust: auto;"><br /></span></div><div style="text-align: center;"><span style="-webkit-text-size-adjust: auto;">The need to comprehend "indigenous perspectives" is the same demand for "authenticity’ that sophisticated European collectors have always had for African art. If it was made to sell to people like them , they give it less value.</span></div><div style="text-align: center;"><span style="-webkit-text-size-adjust: auto;"><br /></span></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_zxzsjHy7D_KMzRYEJ50IQs9P6EdZtoEVu5NpQCNn2LlmGm_G7yMfAXwRwmjjECSix_Ez4zcBGZQvIgqQhw_5cpFhgfHAApI8Wo0ic4CGcs-EsMcRNlua1LHSDN9d794yCbgguD27kijs_seyybLvbGWqlCBGCxkfL2i-2FidXr70lSe80g/s800/BBFE684B-2476-4811-873E-4AD20E4468F4.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="649" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_zxzsjHy7D_KMzRYEJ50IQs9P6EdZtoEVu5NpQCNn2LlmGm_G7yMfAXwRwmjjECSix_Ez4zcBGZQvIgqQhw_5cpFhgfHAApI8Wo0ic4CGcs-EsMcRNlua1LHSDN9d794yCbgguD27kijs_seyybLvbGWqlCBGCxkfL2i-2FidXr70lSe80g/s320/BBFE684B-2476-4811-873E-4AD20E4468F4.jpeg" width="260" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7S-hbne2VDUJF_yx_FbDvybQq0EThGRBxOoZ35-QEXWcAbvhylkzaEhGIxfFaLcXbpeFd6429h6XanwEIp4w9mHFnkfQ98EN6SqRSVETyYkvEh9Qo7Cai4rQxF4ytu1cCgT9Y7rm9YsaTuMlhQrDmWrz3bzno3Y1Fh3AI7qIL7xUIrzBdlw/s800/D25AF67C-8B7B-4278-A0C0-E6B3E7643690.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="582" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7S-hbne2VDUJF_yx_FbDvybQq0EThGRBxOoZ35-QEXWcAbvhylkzaEhGIxfFaLcXbpeFd6429h6XanwEIp4w9mHFnkfQ98EN6SqRSVETyYkvEh9Qo7Cai4rQxF4ytu1cCgT9Y7rm9YsaTuMlhQrDmWrz3bzno3Y1Fh3AI7qIL7xUIrzBdlw/s320/D25AF67C-8B7B-4278-A0C0-E6B3E7643690.jpeg" width="233" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><span style="-webkit-text-size-adjust: auto;">Brong (probably), Ghana</span></div><div style="text-align: center;"><span style="-webkit-text-size-adjust: auto;"><br /></span></div><div style="text-align: center;"><span style="-webkit-text-size-adjust: auto;">Not surprisingly - the Brong (or Bono) people are matrilineal.<br /></span></div><div style="text-align: center;"><span style="-webkit-text-size-adjust: auto;"><br /></span></div><div style="text-align: center;"><span style="-webkit-text-size-adjust: auto;"><br /></span></div></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM8V7B5Zwie_UHYroEprB0JxSMHFwKVztEBJUKrN6HI70AYDDLsNJRgx2EYKQ5hu19LZjJhQhHQl5I5gjE3KUpVuzmv5vL44WPkqYny_XZ8tjOsh_Gk4K-8tx6n_jFI9N9xiJj6YLApNHl1uYpXdVzJZYxFfNzKFfiMjL_iZdQLmlLAE_MSA/s800/E40DA5E7-9FCB-474F-90F7-5D5A95282F92.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="378" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM8V7B5Zwie_UHYroEprB0JxSMHFwKVztEBJUKrN6HI70AYDDLsNJRgx2EYKQ5hu19LZjJhQhHQl5I5gjE3KUpVuzmv5vL44WPkqYny_XZ8tjOsh_Gk4K-8tx6n_jFI9N9xiJj6YLApNHl1uYpXdVzJZYxFfNzKFfiMjL_iZdQLmlLAE_MSA/s320/E40DA5E7-9FCB-474F-90F7-5D5A95282F92.jpeg" width="151" /></a></div><div class="separator" style="clear: both; text-align: center;">Chokwe, Angola</div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p><p><span style="color: #ffa400;"> <span style="text-align: left;">Usually
identified as a representation of the Chokwe mythological hero Chibinda
Ilunga, this sculpture is in the same style and possibly by the same
artist as the other male figure displayed nearby. He holds a staff and
medicine horn that represent the equipment used during hunting, evoking
the endurance and masculine power needed during an expedition. Its
dynamic energy is conveyed through anatomical details including a
muscular body, flexed arms and legs, and large hands and feet. Exuding
both political and religious authority, such figures would have been
part of an altar and served to fight off physical as well metaphysical
threats.</span></span></p><p><span style="color: #ffa400;"><span style="text-align: left;"><br /></span></span></p><p><span></span></p><div class="separator" style="clear: both; color: #ffa400; text-align: center;"><span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSw9q57eonmPa_U6T6Fg7a-kYmfL9fQDSaiFEbStf-RMtF-0wKF8EYv7dVzEO_y-LABb7grEoTuISqtNGVHS_mDxM8ZNnDCZVBP9JjE8FZXIlL5d6c7_5MLfnqO9pw3b2Dl0ZQevoq3P7ms-PVzFIAYIqejjqmghe0uyABqKB1SGFT3h7SeQ/s800/0FAEC03B-D6BB-43B9-B2BB-2C5C9D41B124.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="620" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSw9q57eonmPa_U6T6Fg7a-kYmfL9fQDSaiFEbStf-RMtF-0wKF8EYv7dVzEO_y-LABb7grEoTuISqtNGVHS_mDxM8ZNnDCZVBP9JjE8FZXIlL5d6c7_5MLfnqO9pw3b2Dl0ZQevoq3P7ms-PVzFIAYIqejjqmghe0uyABqKB1SGFT3h7SeQ/s320/0FAEC03B-D6BB-43B9-B2BB-2C5C9D41B124.jpeg" width="248" /></a></span></div><div class="separator" style="clear: both; text-align: center;"><span>Chokwe</span></div><div class="separator" style="clear: both; color: #ffa400; text-align: center;"><span><br /></span></div><span><br /><span style="color: #ffa400; text-align: left;"><br /></span></span><p></p><p><span style="color: #ffa400;">The sculptural art of the Chokwe people has long been renowned for its refinement. Western collectors and scholars have particularly appreciated these works' naturalism--for instance, the figure of the mythological hero Chibinda Ilunga shown nearby has been praised for its graceful and meticulous carving. The Chokwe people, however, use a specific term to describe a sculpture executed with skill and care: utotombo. It identifies a crucial aspect of cibema, a word that corresponds, in English, to both "beautiful" and "good" and may be used to praise a work. This language is also applied to masks depicting young women with elaborate hairstyles and jewelry that express their good taste and wealth as well as to figures of male leaders whose powers ensure a community's survival.
</span></p><p><span style="color: #ffa400;"><br /></span></p><p><span style="color: #ffa400;"><br /></span></p><p><span style="color: #ffa400;"><br /></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSL5X_7UT3uzvt8iYs5giwaY24BKqoe3ZqWoTHdSpvsaN0uz5yQQXxXzrG9pUP6jkvt59omapwer7SJ24TtGrZfaOU2ECbhLM1EceoFrTRTKdNvBy014SI_hSIlqUMy8ql6KLqZXBqemHRo9GmuNA6MyE70JM7GFZ6cgfwAbLCcnV9SM9ZPg/s800/F01CDC8B-48D3-4948-9233-1C6A89C202DB.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="579" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSL5X_7UT3uzvt8iYs5giwaY24BKqoe3ZqWoTHdSpvsaN0uz5yQQXxXzrG9pUP6jkvt59omapwer7SJ24TtGrZfaOU2ECbhLM1EceoFrTRTKdNvBy014SI_hSIlqUMy8ql6KLqZXBqemHRo9GmuNA6MyE70JM7GFZ6cgfwAbLCcnV9SM9ZPg/s320/F01CDC8B-48D3-4948-9233-1C6A89C202DB.jpeg" width="232" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><span style="-webkit-text-size-adjust: auto; font-family: Arial; font-size: 11pt; white-space: pre-wrap;">Probably a Kulebele workshop</span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><p dir="ltr" style="-webkit-text-size-adjust: auto; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: center;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">Senufo: Senambele</span></p><p dir="ltr" style="-webkit-text-size-adjust: auto; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: center;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">Côte d'Ivoire</span></p><p dir="ltr" style="-webkit-text-size-adjust: auto; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: center;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">Mother-and-Child Figure</span></p><p dir="ltr" style="-webkit-text-size-adjust: auto; line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt; text-align: center;"><span style="font-family: Arial; font-size: 11pt; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; vertical-align: baseline; white-space: pre-wrap;">19th to early 20th century</span></p><br style="-webkit-text-size-adjust: auto;" /><br style="-webkit-text-size-adjust: auto;" /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div>
<span style="color: #ffa400;">This majestic figure was most likely used as a stationary display piece for the Poro association, a Senufo organization that brings together men of different age groups in order to promote their social and political authority. The association also serves as a religious institution that educates both genders. This image refers to the character known as Kaatyeleo, or Ancient Mother, the central deity of the Poro initiation process: she guards and instructs the young men entering the association as her children, nursing them with the milk of knowledge, The figures that evoke her are said to express glam, mature authoritative power.
</span><div><br /></div><div><br /></div>
<span style="color: #ffa400;">While sometimes thought of as a lower caste in Senufo society, the Kulebele have protection and prestige in their access to a group-specific supernatural power, the kafigeledjo. Feared and respected, the Kulebele are also thought to have the ability to turn into hyenas. Through the use or threat of these powers, the Kulebele maintain their specialized and exclusive role as woodcarvers.</span><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizbCHrIfcQNdbf-Oz0J2kt7BVxWXbe2h8u-z1RVQbJ06kwNprEeY-P-YmFONrFM9vZRu5n2Qi4ZmAHsqEjsME_VwdqWK89tOXfVqTg2ZakmENqaPz-zxHu-H18CUT_iAL4M3l_Hfag5bkZlJm592mIfqX6BcvEvpn-Oq17TASFgCbr6wEGbA/s800/8C9E3E44-C26E-431A-B4B4-804522221D97.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="536" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizbCHrIfcQNdbf-Oz0J2kt7BVxWXbe2h8u-z1RVQbJ06kwNprEeY-P-YmFONrFM9vZRu5n2Qi4ZmAHsqEjsME_VwdqWK89tOXfVqTg2ZakmENqaPz-zxHu-H18CUT_iAL4M3l_Hfag5bkZlJm592mIfqX6BcvEvpn-Oq17TASFgCbr6wEGbA/s320/8C9E3E44-C26E-431A-B4B4-804522221D97.jpeg" width="214" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: left;"><span style="color: red;">Beyond its specific depiction of a mother nursing her child,</span></div><div class="separator" style="clear: both; text-align: left;"><span style="color: red;">this sculpture symbolizes a larger concept of ancestral</span></div><div class="separator" style="clear: both; text-align: left;"><span style="color: red;">motherhood that is central to Senufo society, in which</span></div><div class="separator" style="clear: both; text-align: left;"><span style="color: red;">cultural inheritance is matrilineal. The darkened areas of</span></div><div class="separator" style="clear: both; text-align: left;"><span style="color: red;">wood come from oils applied to its surface as both libations</span></div><div class="separator" style="clear: both; text-align: left;"><span style="color: red;">and surface protectants. In some Senufo beliefs, one of the</span></div><div class="separator" style="clear: both; text-align: left;"><span style="color: red;">most important founding ancestors is the Great Mother or</span></div><div class="separator" style="clear: both; text-align: left;"><span style="color: red;">Ancient Woman (Katyeleeo or Maleeo). In groups that</span></div><div class="separator" style="clear: both; text-align: left;"><span style="color: red;">believe in the Great Mother, she suckles male initiates with</span></div><div class="separator" style="clear: both; text-align: left;"><span style="color: red;">the "milk of knowledge." Through this process, youths gain</span></div><div class="separator" style="clear: both; text-align: left;"><span style="color: red;">the information they need to become adults (that is, fully</span></div><div class="separator" style="clear: both; text-align: left;"><span style="color: red;">human). The simplified appearance of the "child" in this</span></div><div class="separator" style="clear: both; text-align: left;"><span style="color: red;">sculpture reflects his unformed, pre-initiated state.</span></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Above is the text on the website of the Cleveland Museum of Art.</div><div class="separator" style="clear: both;">Below is their photo of it,</div><div class="separator" style="clear: both;">Used to promote their 2015 exhibit of Senufo art.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiECuvCLZaskhV-OFJ33SHUr0faB3QLDJkAuQviT4xbNsbSsl8_5YSHb4cYBRtI952GZkniIyaG8W5Mgi0j7dEqIti2lNZ31uS3Yxfp0tBajLcUX1219M9N75orP3rVwUcryqLWvl7fUr_1_YcIxlZC0dzM9lBL6ZAXoz4TqNJruMaYG2xKbQ/s800/B02D7FB8-5A50-44B2-BFFA-54C7000812E4.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="538" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiECuvCLZaskhV-OFJ33SHUr0faB3QLDJkAuQviT4xbNsbSsl8_5YSHb4cYBRtI952GZkniIyaG8W5Mgi0j7dEqIti2lNZ31uS3Yxfp0tBajLcUX1219M9N75orP3rVwUcryqLWvl7fUr_1_YcIxlZC0dzM9lBL6ZAXoz4TqNJruMaYG2xKbQ/s320/B02D7FB8-5A50-44B2-BFFA-54C7000812E4.jpeg" width="215" /></a></div><br /><div class="separator" style="clear: both;"><br /></div></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvMcMv2s1jp-HHEcA6DeC8roCMWlr_kiRTeWHlXwaILvWuIbk6d2ERbU6fpoP7aHAWclRnBRYI_TmvvmymqdlS87T2PvSa3VPyTNB5YtjxZU7AwE4iQuQaw6pbOBVmW2zPUDPaNRZLg0fieXSppSzKEcn1mBlteyWCiZNiCssMkmuwqbdUcA/s800/904EF0A3-E925-4645-8225-E9F73475EFEC.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="517" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvMcMv2s1jp-HHEcA6DeC8roCMWlr_kiRTeWHlXwaILvWuIbk6d2ERbU6fpoP7aHAWclRnBRYI_TmvvmymqdlS87T2PvSa3VPyTNB5YtjxZU7AwE4iQuQaw6pbOBVmW2zPUDPaNRZLg0fieXSppSzKEcn1mBlteyWCiZNiCssMkmuwqbdUcA/s320/904EF0A3-E925-4645-8225-E9F73475EFEC.jpeg" width="207" /></a></div><br /><div><br /><div><br /></div><div>Much of the African art collected by Europeans in the early 20th C. was Senufo - as evidenced by the 1963 exhibit "Senofo Sculpture from West Africa" - the first ever art museum exhibit to focus on just one particular people (BTW - it came to Chicago!) … and the following:</div></div><div><br /></div>
<span style="color: red;">In a book on the subject, Robert Goldwate (director of the Museum of Primitive Art),juxtaposed American photographer Walker Evans’s 1935 print of a sculpture by an unnamed African artist with Pablo Picasso’s Nude of 1907. On the basis of form, Goldwater regarded the African sculpture as an example of Senufo art. His interest in African art, and Senufo art more specifically, led him to organize the influential Senufo sculpture exhibition when he was director of the MPA. Through the exhibition and its companion publication, Goldwater established enduring parameters of the Senufo style.</span> </div><div><br /></div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs6cSvV_S5Iv3eNFDTt2SShJFmA8t2Btr848ImIjrDqMWG2WHf3I_28W1x1t4xJO3jt4rx9IhhTwRkfrR3WHgSemDJxvxeqUkXSu-jEpKswuK1SgA2NCbgGBR2a6tSZOtuNn5K6N6-GomfKP_lZo2UvKywakOedPhdIAJpspAc2rc21fakgw/s517/10D9D3EA-3DDB-4176-BF83-A9996D3C3C6E.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="517" data-original-width="404" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs6cSvV_S5Iv3eNFDTt2SShJFmA8t2Btr848ImIjrDqMWG2WHf3I_28W1x1t4xJO3jt4rx9IhhTwRkfrR3WHgSemDJxvxeqUkXSu-jEpKswuK1SgA2NCbgGBR2a6tSZOtuNn5K6N6-GomfKP_lZo2UvKywakOedPhdIAJpspAc2rc21fakgw/s320/10D9D3EA-3DDB-4176-BF83-A9996D3C3C6E.jpeg" width="250" /></a></div><div class="separator" style="clear: both; text-align: center;">Studio of Andre Derain, 1910-11</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Could not find the Picasso photo, </div><div class="separator" style="clear: both; text-align: center;">but according to Gertrude Stein,</div><div class="separator" style="clear: both; text-align: center;">Derain was into African art even earlier. </div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Looks like Derain had an excellent collection</div><div class="separator" style="clear: both; text-align: center;"> </div><div class="separator" style="clear: both; text-align: center;">The text below is quoted from Picasso's letter to Malraux: <br /></div><div class="separator" style="clear: both; text-align: center;"> </div><div class="separator" style="clear: both; text-align: center;"> </div><div class="separator" style="clear: both; text-align: left;"> </div><div class="separator" style="clear: both; text-align: left;"><span style="color: #04ff00;"> “People often talk about the influence of African art on me. What can I say? We all liked fetishes. Van Gogh said, ‘We all had Japanese art in common.’ For us, it was the Africans. Their forms didn’t influence me more than they did Matisse. Or Derain. But for them, the masks were sculptures like any others. When Matisse showed me his first African head, he talked about Egyptian art.<br /><br />“When I went to the Trocadéro, it was disgusting. Like the Flea Market. The odor. I was alone. I wanted to leave. But I didn’t. I stayed. I stayed. I understood that it was very important. Something was happening to me…<br /><br />“The masks were not like other sculptures. Not at all. They were magical things. So why weren’t Egyptian or Chaldean sculptures magical? We didn’t realize: they were primitive, not magical. The African pieces were intercesseurs. Ever since then, I’ve known the word in French. They stood against everything, the whole; against the unknown, threatening spirits. I was always looking at fetishes. I understood; I too am against everything. I too believe that everything is unknown, that everything is an enemy! Everything as a whole! Not the details, women, children, animals, tobacco, playing, but everything together! I understood what the Africans used their sculpture for. Why sculpt like that and not some other way? After all, they were not Cubists! Cubism did not exist. It was clear that some fellows had invented the models, and others had imitated them. That’s tradition, isn’t it? But all the fetishes were for the same thing. They were weapons to help people avoid obeying the spirits so they could become free. Spirits, the unconscious – something that was not talked about much then – emotion: they were all the same thing. I understood why I was a painter.<br /><br />“All alone in that dreadful museum, with the masks, the Redskin dolls, the dusty cloth figures. Les Demoiselles d’Avignon must have come to me that day, not at all because of the forms, but because it was to be my first exorcism painting!”</span><br /></div><div class="separator" style="clear: both; text-align: center;"><br />André Malraux, The Mirror of the Limbs – II. The Cord and the Mice, 1976.</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div style="text-align: center;">Sounds like Picasso’s reaction to African carving was quite different from mine as well as the curator who wrote the text for the wall of this show. But I and the curator have been viewing and thinking about African art for many decades. We grew up with it being in the canon of great world art. Picasso is reporting on the very first time he, and many other Europeans, saw this kind of work - and as his biographies tell us, he was a bit closer to the dark side than I will ever be.</div><div><br /><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a _style="margin-left: 1em; margin-right: 1em;" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgws9prx-ZPtfxoYZFp51OUQYoTAoGhJMeLPGHHRoBrI2tdmyKZaICPXwtzLgkfNyx_Qdk51ICnNnL0JN3ubIC9y26syfWm9fnCdjJpBmOKeE5HoDONS-OvmrVSSVyr94UZK32gYMrU9f_tFnHbi7LyqiQqsYvcbUKJoqYDnTRqFD6gzq4ehQ/s800/ED162C66-C8B5-4082-AF4F-750251518F35.jpeg"><img border="0" data-original-height="800" data-original-width="574" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgws9prx-ZPtfxoYZFp51OUQYoTAoGhJMeLPGHHRoBrI2tdmyKZaICPXwtzLgkfNyx_Qdk51ICnNnL0JN3ubIC9y26syfWm9fnCdjJpBmOKeE5HoDONS-OvmrVSSVyr94UZK32gYMrU9f_tFnHbi7LyqiQqsYvcbUKJoqYDnTRqFD6gzq4ehQ/s320/ED162C66-C8B5-4082-AF4F-750251518F35.jpeg" width="230" /></a></div><div class="separator" style="clear: both; text-align: center;">Mumuye, Nigeria</div><div><br /></div>
<div style="text-align: center;"><a href="https://www.metmuseum.org/art/collection/search/314606">Here's a piece</a> at the Met.</div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivO13oBZfDO7opcGOr4-s-lVhHp8riyKldIKQyo7MSO0v_b0hLYLYjVgG4so9JD4CsdJ0NLZqMOVg-4wzy0H3bAy736DMvOswTjR2bbYNFq0MmOM4dt3ywvhBxXDlvpgGoCc3CVmRopNGX1JmfsWJG5Uyv05ZdW8LFX3AeQeB4lOD4yguRGg/s800/7B945AE2-88F6-42DD-A3B5-D0B7147E1615.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="617" data-original-width="800" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivO13oBZfDO7opcGOr4-s-lVhHp8riyKldIKQyo7MSO0v_b0hLYLYjVgG4so9JD4CsdJ0NLZqMOVg-4wzy0H3bAy736DMvOswTjR2bbYNFq0MmOM4dt3ywvhBxXDlvpgGoCc3CVmRopNGX1JmfsWJG5Uyv05ZdW8LFX3AeQeB4lOD4yguRGg/s320/7B945AE2-88F6-42DD-A3B5-D0B7147E1615.jpeg" width="320" /></a></div><br /><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;">Kongo: Yombe
Probably Democratic Republic of the
Congo
Two-Headed Dog Figure
(Nkisi Nkondi Miwa or
Nkisi Kozo)
19th century
Wood, pigment, metal, and resin </div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div>
<br /><span style="color: #ffa400;">A power figure in the form of an mbma (dog), like the two-headed exam-
ple shown here, draws strength from the animal's heightened senses in
order to serve as a more effective channel between the human world and
that of the spirits. Kongo hunting dogs navigate two earthly spheres-
village and forest- and therefore can also mediate between the living
and the dead. Just as a dog serves his owner by anticipating his move
ments through the wilderness while hunting, so does the akis akondi
mbira (especially a two-headed one) enhance the potency of an alia
nkondi by watching for dangers that might approach from any direction,</span></div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA9yxEj4RNr-2ZWteatx8ch0JhGkVCbKcJEzzbTGsoG67tmk28eYGlQx39hOmJIJHfGVa97zfVbG7YOd6Ok2-PGxhqWw6o2STv3IRhPThVjskvSN4aRaaxsEjIcE3LvFlZU5n_Ko9i_x9ooSCSglQIePTbLuDRYMJ5O4olk3HZ8dyCc7u_xw/s800/9ED1A52B-187B-43F3-96B9-80FAEDD74AD5.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="710" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA9yxEj4RNr-2ZWteatx8ch0JhGkVCbKcJEzzbTGsoG67tmk28eYGlQx39hOmJIJHfGVa97zfVbG7YOd6Ok2-PGxhqWw6o2STv3IRhPThVjskvSN4aRaaxsEjIcE3LvFlZU5n_Ko9i_x9ooSCSglQIePTbLuDRYMJ5O4olk3HZ8dyCc7u_xw/s320/9ED1A52B-187B-43F3-96B9-80FAEDD74AD5.jpeg" width="284" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div>
Northern We , Côte d'Ivoire
Face Mask (Tonhu Zri)
19th to early 20th century
Wood, pigment, and fiber <div><br /></div><div><br /></div><div><br /></div><div><span style="color: #ffa400;"> The We and neighboring peoples of Liberia and Cöte d'Ivoire
share a tradition of masks in which a human face has some features
doubled, others enlarged, and still others omitted entirely--all
combined with cavities and protrusions. Each was designed to be
part of a dynamic context of music, dance, and song. These works'
appearance and identity evolve over their lifetimes as animal and
other natural parts are added, increasing the masks' supernatural powers that are helpful in war and combat.</span></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbZvyKAUWZ99O6SjXlC1Ltpdw0W8gTr96bJ815gNya60M_Xhg2cIblMOkT7iRckiH0D_26otg9FUQNAiprwQJ-I5QDlQFr7vvLtqI2xOd4fX-y681aJ73TwZbSMrztwMIK33xYtHW-ZXfN5op74kYS2-HE4Wumla7zU7SJACYJa5BLKcfqAg/s800/8DB32323-9470-4FF5-A94E-90A72F641D21.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="609" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbZvyKAUWZ99O6SjXlC1Ltpdw0W8gTr96bJ815gNya60M_Xhg2cIblMOkT7iRckiH0D_26otg9FUQNAiprwQJ-I5QDlQFr7vvLtqI2xOd4fX-y681aJ73TwZbSMrztwMIK33xYtHW-ZXfN5op74kYS2-HE4Wumla7zU7SJACYJa5BLKcfqAg/s320/8DB32323-9470-4FF5-A94E-90A72F641D21.jpeg" width="244" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Ibibio (Anaang), Nigeria</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOmqhzOHV_KzGp0GJ-THQQaDHJDl1P6yi3G9Dv1rt-gHgnfb2yguOFDcWZrIg9jQKKhdfDtSV43O3Nvr61b6B_xZ8V6BVCv9Cf_qnCM2FHL7h5W3z9ff9DrboVyOMwpZWApTaqEM9hzIWbeI9oxWqhrW7ygYGPxGt6Uu1UQR58hu_-nnxrIg/s800/D8EC6FC6-C9A9-4940-AAEC-D14708CF5A93.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="673" data-original-width="800" height="269" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOmqhzOHV_KzGp0GJ-THQQaDHJDl1P6yi3G9Dv1rt-gHgnfb2yguOFDcWZrIg9jQKKhdfDtSV43O3Nvr61b6B_xZ8V6BVCv9Cf_qnCM2FHL7h5W3z9ff9DrboVyOMwpZWApTaqEM9hzIWbeI9oxWqhrW7ygYGPxGt6Uu1UQR58hu_-nnxrIg/s320/D8EC6FC6-C9A9-4940-AAEC-D14708CF5A93.jpeg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;">Bamala, Mail, Head of a Hobby Horse, 20th century </span></div><div><br /></div><div><br /></div><div><span style="color: #ffa400;"><br /></span></div><div><span style="color: #ffa400;"> Kindombolo, the mask of the clown or trickster, gives form to collective
ideas about ugliness and the grotesque through his outrageous perfor-
mance and ragged clothing. When he enters the dance floor, the crowd
grects him with insults; "You are ugly!" and "You are a slob!" The holes
on his cheeks represent the scars of smallpox as kindombolo portrays a
character who, having survived the disease, is oblivious to physical dan
ger and social etiquette. Parodying other masks and flirting with female
onlookers, he provides comic relief for the audience. His dance is marked
by vulgar behavior and sexual innuendo.</span></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLsHMvrcQEQH7Zef_6jiT1T_UF6YTIkubcK_5UmhhfIsuRv5iu7lESrEfXsFO3LnSohvGUdfsVXAoKFZJKtEgP31bVANmsaZT2CpeUSysMNgJveUUbQvu7ymrn-1ct-dabD3gFUQqY3mwWmUxKXTCHENI2xl7NtRf483j8hsqdzAlUPS8MOg/s800/10EEECAA-138F-498A-976E-7E96B373C05E.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="588" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLsHMvrcQEQH7Zef_6jiT1T_UF6YTIkubcK_5UmhhfIsuRv5iu7lESrEfXsFO3LnSohvGUdfsVXAoKFZJKtEgP31bVANmsaZT2CpeUSysMNgJveUUbQvu7ymrn-1ct-dabD3gFUQqY3mwWmUxKXTCHENI2xl7NtRf483j8hsqdzAlUPS8MOg/s320/10EEECAA-138F-498A-976E-7E96B373C05E.jpeg" width="235" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div> <br /><div><br /></div>
Igbo
Nigeria
Half-Helmet Mask
(Agbogbo Mino)
Early 20th century
Wood and pigment <div><br /></div><div><br /></div><div><span style="color: #ffa400;">Light in color, with small, delicately balanced features, the aghogho
mmo (maiden spirit) mask shown here glorifies women but is activated
in performance by men. They wear elaborate coordinating costumes,
as documented in the photograph at right, taken in the Awka region of
Nigerin in the mid- 1930s. The mask's appearance represents spiritualized, idealized grace, beauty, and purity -in Igbo terms, Okoroshi uma,
or "good-pretty." Its hairstyle is modeled after one that was popular
for marringeable girls from the Inte 19th century, which incorporated
buttons and ornamental combs, The chalky substance and swirling patterns on the face represent the geometric body decorations painted on
Igbo women, known as uli designs.</span></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6s-K_VCGSg6wbygDgbxhJIgRoiWTcBXMaJz-MyPPDJdwZdy60mL51GKCfU6nUtgsST9_mNqOpDNR8oK9bx3AVq-usa9KqX9Sm4i5Hl2HRQj4YTkG5D668XvcPXh2cVVla7Qz0QqyulGC6kYFiWVXm9uhF7XrcjL2lpUsPw4AcYQeCqqaTkg/s800/A84BC1A1-0935-4384-AB8C-8988357F447E.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="678" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6s-K_VCGSg6wbygDgbxhJIgRoiWTcBXMaJz-MyPPDJdwZdy60mL51GKCfU6nUtgsST9_mNqOpDNR8oK9bx3AVq-usa9KqX9Sm4i5Hl2HRQj4YTkG5D668XvcPXh2cVVla7Qz0QqyulGC6kYFiWVXm9uhF7XrcjL2lpUsPw4AcYQeCqqaTkg/s320/A84BC1A1-0935-4384-AB8C-8988357F447E.jpeg" width="271" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div><br /></div>
Kongo: Yombe
Angola, Cabinda, or Democratic
Republic of the Congo
Male Figure (Nkisi Nkondi:
Mangaaka)
19th century
Wood, pigment, iron, ceramic, fiber, textile,
and glass <div><br /></div><div><span style="color: #ffa400;"> The Kongo would recognize this power figure, an example of nkisi nkondi,
as having the potential to be animated by physical and metaphysical
forces. Its bright white eyes and reflective mirror (on the stomach)
act as a threshold to spiritual realms. The features allow the figure to
"see through" any living person and also reflect evil back toward itself.
Among the Kongo the dramatic combination of compelling beauty and
repulsion (created by the addition of nails and natural materials) would
be called ngitukulu, which might be understood as "awesome. </span></div><div><br /></div><div>
<a href="https://www.metmuseum.org/art/collection/search/312221">The Met has a similar piece</a> and their website has additional information.
</div><div><br /></div><div>(I’m showing the back view, not only because it is more powerful, but also because I didn’t want my evil energy reflected back at me by the mirror on his stomach)</div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO8sRA6xaCOhPBPGXFmktL3hbmw8-fRS4FLktIjrpAZheEnedLUCEy2dvBlHbeykVdGwEyJ-aAwv2gi6PVEjCLco63TzNs5u5egFNktbMtIjrBS9luvBFYc5ubXOsYwITjlvXkQA8neOaef17TO30iH-U16lUpeQHNxG1e_80-QRiTQCFIWA/s800/0D64D77B-C1F3-406F-ACDA-FF6EA31FE58B.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="416" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO8sRA6xaCOhPBPGXFmktL3hbmw8-fRS4FLktIjrpAZheEnedLUCEy2dvBlHbeykVdGwEyJ-aAwv2gi6PVEjCLco63TzNs5u5egFNktbMtIjrBS9luvBFYc5ubXOsYwITjlvXkQA8neOaef17TO30iH-U16lUpeQHNxG1e_80-QRiTQCFIWA/s320/0D64D77B-C1F3-406F-ACDA-FF6EA31FE58B.jpeg" width="166" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div><br /></div><div><br /></div>
Songye, Democratic Republic of the Congo
Male Figure (Nkishi)
19th century
Wood, pigment, copper, brass, iron,
antelope horn, animal hair, raffia cloth,
and glass beads <div><br /></div><div><br /></div><div><span style="color: #ffa400;"> Because this power figure displays a high level of craftsmanship as well
as elaborate paraphernalia including an antelope horn, metal sheeting,
and glass beads, we can infer that it was the collective property of a vil-
lage and served a community. Anyone could make a figure for personal
use. Community figures, however, were made by recognized special-
ist carvers and then empowered and accessorized by reputable healers
known locally as banganga (sing, nganga). Community mankishi (sing.
nkishi) were typically kept out of sight in a sanctuary, but their reputa-
tions would still extend beyond their immediate vicinity. These works
served successive generations while personal figures would be discarded
once they accomplished the goal they were designed for.</span></div><div><span style="color: #ffa400;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie8DIIZr1-jnTaD5tFzfXlxmRaivLuo0YMQXp0R7K4V_LdvtFyg4eqwloOZI-if-2MH2zpclaqyeWc9Jl8nhx3O4omoS7ZQUAF0NO71QFXPTp_IQ9B5sd-0ICpXxWofnkODFBEf6BM6NPMAiPr5llH_28kCllO3AZj3O0PWkh-L22VgHkyVA/s800/DEE0A66B-AE21-4465-915E-E92436DA041B.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="530" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie8DIIZr1-jnTaD5tFzfXlxmRaivLuo0YMQXp0R7K4V_LdvtFyg4eqwloOZI-if-2MH2zpclaqyeWc9Jl8nhx3O4omoS7ZQUAF0NO71QFXPTp_IQ9B5sd-0ICpXxWofnkODFBEf6BM6NPMAiPr5llH_28kCllO3AZj3O0PWkh-L22VgHkyVA/s320/DEE0A66B-AE21-4465-915E-E92436DA041B.jpeg" width="212" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div></div><div> </div><div style="text-align: center;">Songye
Democratic Republic of the Congo
Mask (Kifwebe) </div><div><div style="text-align: center;">19th to early 20th century
Wood and pigment</div><div><br /></div><div><span style="color: #ffa400;"><br /></span></div><div><span style="color: #ffa400;"> Bifwebe (sing, kifwebe) masks depicting strange beings--neither
human, animal, nor spirit- were visual ambassadors for a variety
of masking societies in Songye and Luba regions. The size of
the crest on top reflects a mask's magical potential and mystical
power. Male bifinebe (such as the one shown here) are covered in
colored stripes. Female versions are mostly white and associated
with goodness, purity, and beauty, which they can use to engage
benevolent spirits. Bifirebe served as tools for entertainment,
social and political control, or religious protection against sorcery.
The Songye claim these forms have Luba origins, while the Luba
assert the reverse -an appropriately ambiguous backstory for the
strange kifirebe character.</span></div></div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJbH18mVC7DEtPGxrL9LLXz543OS_prbuJOLoOihiGk9c18gFD5h6fMpztNyQeCgsQfV-2uy1tZ92S4gCDQIh-Umrq63QUkr8jsPh06bwslW1DA91XfeQJCTuyisv4cJ2ho-CjJFSuaaaCvR5ZoJ4QwzPmq41o769YOwcjA5l4MIZfcUqvGg/s800/859C0730-FF84-4FD2-8A7E-E8E2BF895FDB.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="418" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJbH18mVC7DEtPGxrL9LLXz543OS_prbuJOLoOihiGk9c18gFD5h6fMpztNyQeCgsQfV-2uy1tZ92S4gCDQIh-Umrq63QUkr8jsPh06bwslW1DA91XfeQJCTuyisv4cJ2ho-CjJFSuaaaCvR5ZoJ4QwzPmq41o769YOwcjA5l4MIZfcUqvGg/s320/859C0730-FF84-4FD2-8A7E-E8E2BF895FDB.jpeg" width="167" /></a></div><div class="separator" style="clear: both; text-align: center;">Luba, Democratic Republic of Congo, Female Figure (Nkisbi), 19th Century</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi68n0SKV65fqoW1SlZqiiks6JS5ZmqwSzzmS2Y5hdwHLUk9f2gBwHrrP5z3jgJq6ce-EmJH8SjPzFVEHjBN4jkimCSqs7TYhfNhLkoX4wltR9BKqdARPQBK6M-nAOZWZeo5VzKbcOD90KeXQPUUopPV7cYI204SsHtiVREDamBLvA5eyn3cA/s800/B83C33E3-F19B-48F6-A5C3-99BE321150FB.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="647" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi68n0SKV65fqoW1SlZqiiks6JS5ZmqwSzzmS2Y5hdwHLUk9f2gBwHrrP5z3jgJq6ce-EmJH8SjPzFVEHjBN4jkimCSqs7TYhfNhLkoX4wltR9BKqdARPQBK6M-nAOZWZeo5VzKbcOD90KeXQPUUopPV7cYI204SsHtiVREDamBLvA5eyn3cA/s320/B83C33E3-F19B-48F6-A5C3-99BE321150FB.jpeg" width="259" /></a></div><div class="separator" style="clear: both; text-align: center;">Guro, Ivory Coast, 19th to early 20th C.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKDsU_LjmzqnrcGq5lg3QggFx-KVl2DP7sbxR7R3oQPI0XjPnrXbIvdHSMUCS5-fMzTQWbXSIIDQ9PlZv_oXWS3vxNyAHCShzfRtkGSmGnGdj7nLNun5tCtPdvU5T74gGq-JNJq4qBed2OQEwKiRlYuMR-qDiiWHIWCRbE0xiBBju_29C73Q/s800/1F88C315-7A48-4734-84BE-415543EBD244.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="716" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKDsU_LjmzqnrcGq5lg3QggFx-KVl2DP7sbxR7R3oQPI0XjPnrXbIvdHSMUCS5-fMzTQWbXSIIDQ9PlZv_oXWS3vxNyAHCShzfRtkGSmGnGdj7nLNun5tCtPdvU5T74gGq-JNJq4qBed2OQEwKiRlYuMR-qDiiWHIWCRbE0xiBBju_29C73Q/s320/1F88C315-7A48-4734-84BE-415543EBD244.jpeg" width="286" /></a></div><br /><div class="separator" style="clear: both; text-align: center;">Lele (possibly), Ceremonial Adze, Democratic Republic of Congo, 19th C. </div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRuHipH0R4Ti8i9-HkUExX4LSLpOczII9J6QibpxrdEmN6U0KgXuT5k5829oAWP2JteaZRo-ROBpzRtDiqfnJk7TgyHvuQbI0u3kXACABu3vGETUA2FpvGJeZhRK8hlrEBfTbjIu95A2O5n9KIg6DYkYSpXwsgRyBLgFwHieWB9Jzek3hAKg/s800/081F0A7E-AE40-49B7-8605-D2D8CA4EEBF2.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="653" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRuHipH0R4Ti8i9-HkUExX4LSLpOczII9J6QibpxrdEmN6U0KgXuT5k5829oAWP2JteaZRo-ROBpzRtDiqfnJk7TgyHvuQbI0u3kXACABu3vGETUA2FpvGJeZhRK8hlrEBfTbjIu95A2O5n9KIg6DYkYSpXwsgRyBLgFwHieWB9Jzek3hAKg/s320/081F0A7E-AE40-49B7-8605-D2D8CA4EEBF2.jpeg" width="261" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div><br /></div><div style="text-align: center;">
Southern Dan, Liberia , Face Mask (Bugle)
20th century
Wood and pigment </div><div><br /></div><div><br /></div><div><span style="color: #ffa400;">Though the meaning of a Dan mask sculpture usually cannot be
determined without its companion costume and dance choreography
there are some notable exceptions, including this Liberian example the
so-called War Mask (or Gun Mask) character known as buple. Intended
to accompany and protect warriors in battle, it represents an imposing
male persona with an aggressive and violent demeanor, an indicated by
the row of small antelope horns carved above its face, the protruding
shape of its eyes, and its wide-open, projecting animal mouth, le would
have been complemented by a bulky, black fenther headdress
</span></div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR5MqR3iIl9h5uG7iIBVV041zN_ey9bVDq_ubXRRFXGH2lQYcYLdF1RY-xe3u0CDTpxrZePuQb799sTT0xFX3biZPaCSGPCkIf1_hTj5uBBvhfC_hg3aOcrQKxdhXszpYBlBHOnPr2LKl1WCjk8EQnc0FYW4VanxM64rNDG5-8vHsrvxM28g/s400/314A09E4-2647-41AB-80FA-4ECBDFFFDE0F.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="400" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR5MqR3iIl9h5uG7iIBVV041zN_ey9bVDq_ubXRRFXGH2lQYcYLdF1RY-xe3u0CDTpxrZePuQb799sTT0xFX3biZPaCSGPCkIf1_hTj5uBBvhfC_hg3aOcrQKxdhXszpYBlBHOnPr2LKl1WCjk8EQnc0FYW4VanxM64rNDG5-8vHsrvxM28g/s320/314A09E4-2647-41AB-80FA-4ECBDFFFDE0F.jpeg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjULtpsgkjhQ70qtFP0xyy7rtWHiQSTyuKFFage5R3PFbSgTFkEHGe2LgUW23FpO_YSSiB9hSrZK30GtB9BW9VcLwuvbkRPnbyVXRz6skzujCSgVzGavRSdi9y3XKkSLKtkw972_F3HpwjwHXFS6NpkSNyUOsxRybVlCUiV1fwu4KgAMFUxNQ/s600/FF781180-B332-4079-BD54-FD882C728673.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="357" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjULtpsgkjhQ70qtFP0xyy7rtWHiQSTyuKFFage5R3PFbSgTFkEHGe2LgUW23FpO_YSSiB9hSrZK30GtB9BW9VcLwuvbkRPnbyVXRz6skzujCSgVzGavRSdi9y3XKkSLKtkw972_F3HpwjwHXFS6NpkSNyUOsxRybVlCUiV1fwu4KgAMFUxNQ/s320/FF781180-B332-4079-BD54-FD882C728673.jpeg" width="190" /></a></div><div><br /></div><div><br /></div><br /><div style="text-align: center;">Dan masks are one of the collectible genres of African art </div><div style="text-align: center;">- above are two examples pulled off the internet.</div><div style="text-align: center;">One, undated, sold at Sotheby’s for $7000.</div><div style="text-align: center;"> The other, from a contemporary workshop, is now being offered online for $98. </div><div style="text-align: center;"> </div><div style="text-align: center;">Care to guess which is which ? </div><div style="text-align: center;"><br /></div><div style="text-align: center;">I would say that they are both authentic,</div><div style="text-align: center;">but one feels more superficial.</div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmTRJkdu0iujSYtfp7gthm5_AJU-Xr-33RII4N34EFed36djbeFeoEPrFjfj45eM9obegnCiqt4ZAQ8IB8J5fPRrXPXQ8-PgqfP0sjmnykY1RJDOk6s2a1Bq1gZxrGpCLKQkDmUy5XfPxRy6Saf0iCW0Z7hu6fn5uJi9rCHZkeFwv3JpWiXA/s800/71EEFDB9-E541-472F-896E-0DE5D12D2B91.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="468" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmTRJkdu0iujSYtfp7gthm5_AJU-Xr-33RII4N34EFed36djbeFeoEPrFjfj45eM9obegnCiqt4ZAQ8IB8J5fPRrXPXQ8-PgqfP0sjmnykY1RJDOk6s2a1Bq1gZxrGpCLKQkDmUy5XfPxRy6Saf0iCW0Z7hu6fn5uJi9rCHZkeFwv3JpWiXA/s320/71EEFDB9-E541-472F-896E-0DE5D12D2B91.jpeg" width="187" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"></div><div style="text-align: center;"><br /></div><div style="text-align: center;">
Mbala
Demperatic Repubile of the Congo
Mother-and-Child Figure
(Gibalu Gimenyi)
19th to earlv 20th cemtury
Wood and pigment </div><div><br /></div><div><br /></div><div><span style="color: #ffa400;"> This figure wearing the lobed pentoty wig, and carrying her little boy on
her kip would have formed a couple with s male counterpart, often a
drummer. Following the ritals marking a new chief's ascent to power,
these types of figures took thels place among other sacred objects in the
ruler's house. They also served as quardians of the commumity's well
being and women's fertility. They received regular offerings of palm
wine and blond from sacrificil animals as a tribute to the ancestors </span></div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGURjLR3AhWWpC4WCf63hqcSdInykBQFMsJbgKsmYI0GyE1zIYA8fGQ54Kzrnp3l1IZAlETfvMtCTN-stlEQ4GnMzSamXMYJa_DCnEKjkzQWibtFb8GSl--iqTXC2uhwDzl9s9K788VLpG3mHZqQmmhF3ojOFwSc2bkRdalzpC1j0hl9lBpg/s800/CCBA4CBE-6FF9-4FBB-9BCE-DF07B80395D6.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="534" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGURjLR3AhWWpC4WCf63hqcSdInykBQFMsJbgKsmYI0GyE1zIYA8fGQ54Kzrnp3l1IZAlETfvMtCTN-stlEQ4GnMzSamXMYJa_DCnEKjkzQWibtFb8GSl--iqTXC2uhwDzl9s9K788VLpG3mHZqQmmhF3ojOFwSc2bkRdalzpC1j0hl9lBpg/s320/CCBA4CBE-6FF9-4FBB-9BCE-DF07B80395D6.jpeg" width="214" /></a></div><div class="separator" style="clear: both; text-align: center;">Bamana, Mali, Helmet, 19th to early 20th</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="text-align: center;">
The Met has a <a href="https://www.metmuseum.org/art/collection/search/314704"> fine Bamana figure </a> possibly from the 16th Century.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNU-mkHjIKKWWQIkF7S2ytKvyti2hMRxMUn7dCzbx9go28BIGU-bfOIDrzt-B_On-y3t_DvFRcizdU6n7S4zLudYsopHQCSWK0eT4789NAYae2NKZqztOZqXQVeRHPAGR_8UMOxWifBiD9RZXw20OLd0LsrdO8j9Wml77RId7-YHr58r34EA/s800/F4B015D7-FFA7-42B0-B158-7F43EBDEFA6A.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="729" data-original-width="800" height="292" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNU-mkHjIKKWWQIkF7S2ytKvyti2hMRxMUn7dCzbx9go28BIGU-bfOIDrzt-B_On-y3t_DvFRcizdU6n7S4zLudYsopHQCSWK0eT4789NAYae2NKZqztOZqXQVeRHPAGR_8UMOxWifBiD9RZXw20OLd0LsrdO8j9Wml77RId7-YHr58r34EA/s320/F4B015D7-FFA7-42B0-B158-7F43EBDEFA6A.jpeg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">Bamana, Mali, Female Headdress</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC_Ep-te6W12VDfCenRNShH6XK3Sxamm7wOxDYzTNtQDjIyUotMPueD-dxhmUeDgrRFku99H0jO1X13IIaGVXRAHgWYzU4ZpKpzUU41CjyzvGC9xoZbU2g0UzNPSdfGf49oQApBuM7Ad1cNItYHh6vCBrWae-vedpHPcTlmwB8yhg3QjiDtQ/s800/590B3877-F754-49B0-9528-AE8A409D58BE.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="330" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC_Ep-te6W12VDfCenRNShH6XK3Sxamm7wOxDYzTNtQDjIyUotMPueD-dxhmUeDgrRFku99H0jO1X13IIaGVXRAHgWYzU4ZpKpzUU41CjyzvGC9xoZbU2g0UzNPSdfGf49oQApBuM7Ad1cNItYHh6vCBrWae-vedpHPcTlmwB8yhg3QjiDtQ/s320/590B3877-F754-49B0-9528-AE8A409D58BE.jpeg" width="132" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;">Bamana
Possibly Segou region, Mali
Mounted on a base designed by Kichizò
Inagaki (Japanese, 1876-1951)
Puppet in the Shape of a
Female Bust (Yayoroba)
19th century
Wood, pigment, and glass </span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: #ffa400;"><span style="text-align: left;">Puppet masquerades for entertainment, known as sogo bo, are overseen
by Bamana youth associations called Kamalen Ton. Yaporoba, represented by this female bust, is one of the characters at the center of a
series of up to 20 performances comprising a sogo bo. In order to cul-
tivate moral values and social etiquette, the event typically combines
humor with education. Each masquerade is accompanied by drumming
and a chorus of men and women, with a lead singer. Yayoroba embodies
beauty, grace, and dignity but also exemplary character and impeccable
conduct. The Bamana refer to this combination of ideal physical and
moral qualities as sara- "divine beauty.</span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;"><br /></span></div><div style="text-align: center;">
Here's a <a href="https://www.slam.org/collection/objects/27858/">Bamana puppet </a> fron the St. Louis Art Museum </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjt-vtacs9oIbwcgJl3BS4EkTB39uG0ECjIwhXfvoXsz73cuiAdLao8YiwelcR8vKXyO48MRp8gQ-ExCSNR05xQFyZ916lZ-9L3Pw9oxgiP7kpeFfgdKeN0xTVKR3NbEREyNpGkuclQT7wEylNaeQu1mXrl_optrUWRNB75zuwyL3tXmSbXA/s800/1877A459-EC93-4122-92E0-40F7FF77F73E.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjt-vtacs9oIbwcgJl3BS4EkTB39uG0ECjIwhXfvoXsz73cuiAdLao8YiwelcR8vKXyO48MRp8gQ-ExCSNR05xQFyZ916lZ-9L3Pw9oxgiP7kpeFfgdKeN0xTVKR3NbEREyNpGkuclQT7wEylNaeQu1mXrl_optrUWRNB75zuwyL3tXmSbXA/s320/1877A459-EC93-4122-92E0-40F7FF77F73E.jpeg" width="240" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div><br /></div>
Bamana
Mali
Female Figure (Nyeleni or
Jongeleni)
19th to early 20th century
Wood, pigment, copper, metal, and beads
Detroit Institute of Arts.<div><br /></div><div><span style="color: #ffa400;">Adorned with nose piercings, earrings, and anklets, jonyeleni figures
represent Bamana ideals ofbeauty and morality combined, qualities that
a young woman is expected to cultivate to become ready for marriage.
In the context of the Jo association, an organization that teaches male
and female youths how to be productive adult members of society, such
figures also express the desire of male initiates to find a partner and start
a family. On a woman, a strong neck is a sign of honesty and integrity
and firm breasts attest to her ability to carry and nourish offspring. The
geometric body designs on the adjacent figure imitate scarifications that
enhance female anatomy.</span></div><div><br /></div><div><br /></div><div><br /></div><div style="text-align: center;">
Here's <a href="https://www.metmuseum.org/art/collection/search/312184">a Nyeleni figure at the Met</a> -- and the one in this show looks better. </div><div style="text-align: center;"> The text elaborates on the relevant social customs.</div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvDiT4QtuVAUcqPcYz2KjP-e0ofQn8CKYtgIjZo24AvD0KR-rgsGpzZOX1B7ls8vexSmVBDhGyocutmHXE65PcaVEseGKvyiInur2uP2g43qhXe9z2yrA6Cdg7qAm3odIFrYbZ8Nt-Qr8Rpcl_wTt9h6hmR6KXWm1nZVsWqteW4NyYbQAvwQ/s800/78CF9BC1-513D-4295-8223-9235FCAB6636.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="430" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvDiT4QtuVAUcqPcYz2KjP-e0ofQn8CKYtgIjZo24AvD0KR-rgsGpzZOX1B7ls8vexSmVBDhGyocutmHXE65PcaVEseGKvyiInur2uP2g43qhXe9z2yrA6Cdg7qAm3odIFrYbZ8Nt-Qr8Rpcl_wTt9h6hmR6KXWm1nZVsWqteW4NyYbQAvwQ/s320/78CF9BC1-513D-4295-8223-9235FCAB6636.jpeg" width="172" /></a></div><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;">
Fang: Ngumba
Cameroon
Reliquary Guardian Figure
(Eyema Byeri)
19th century </div><div style="text-align: center;">Wood, pigment, brass, and teeth </div><div><br /></div><div><br /></div><div><span style="color: #ffa400;"><br /></span></div><div><span style="color: #ffa400;">In its original context among the northern Fang, this sculpture would
have been adorned with an elaborate hairstyle decorated with brilliant
red feathers from the African gray parrot. Human teeth inserted into
the eye cavities and carved wooden teeth in its mouth give the figure a
menacing demeanor and reinforce its function as a guardian of ancestral
relics, The pronounced eyes convey its extended vision and ability to
detect natural and supernatural threats, while the carved animal horn
imitates a receptacle for protective medicinal substances,
</span></div><div><span style="color: #ffa400;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz9btBDjqajmTHOT4Abv2vdmv7USoFgWg1HcCfDPDBRPo9AvEwVA2BgJhteGlOdZbaKWTlVAI9JW79tbWpTCkrTsMbAgUI_KyXgRwJN_BqS5wKoDTiDg9A75f-Jc6m5xnZsM7MLetTc0BfYxdSNFT5Edv3ZMZU4-YXnePvcxQEnHr3oUWk1Q/s800/E3BFCB31-1147-4747-A56B-D1607F098CD4.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="668" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz9btBDjqajmTHOT4Abv2vdmv7USoFgWg1HcCfDPDBRPo9AvEwVA2BgJhteGlOdZbaKWTlVAI9JW79tbWpTCkrTsMbAgUI_KyXgRwJN_BqS5wKoDTiDg9A75f-Jc6m5xnZsM7MLetTc0BfYxdSNFT5Edv3ZMZU4-YXnePvcxQEnHr3oUWk1Q/s320/E3BFCB31-1147-4747-A56B-D1607F098CD4.jpeg" width="267" /></a></div><br /><span style="color: #ffa400;"><br /></span></div>Bamileke
Bandjoun Kingdom, Cameroon
Prestige Stool (Kuo)
Possibly 19th century
Wood, cotton, fiber, glass beads,
and pigment
The Cleveland Museum of Art, <div><br /></div><div><br /></div><div><span style="color: #ffa400;">This stool once be longed to the 12th king of Bandjoun, Kamga Il Joseph,
of the Bamileke people, who is pictured at right with his attendants in
front of his palace. The photograph was taken in the first years of his
prosperous reign from 1925 to 1975. The stool was probably carried
along whenever the king left his residence to greet dignitaries or to
attend public events and state ceremonies. The leopard connotes beauty,
strength, and wisdom but also refers to the ruler's ability to transform
himself into a leopard at night in order to guard his kingdom. The
colorful glass beads covering the stool were imported from Venice and
Bohemia and were a highly valued commodity reserved for the king and
his entourage,</span>
</div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpG6Ws4GCIFk9Gi_FZa01d5z573U-CYKw-KVcZCfS7u_cMxnc3khp1efbKJp4nKJeFRbQGfHR3_EZM1CWeWyf5oU76_SXbX0aSTwTPjODi0Wzf5rcDpUhCBWtekuwoueeWqwdG4WpsIu1u9MUsqx_0u4EyFCpARA6GqAnkDmTMNPhNgFK6Jg/s800/DF22D2F3-7B79-4CCD-B447-C7E1DA6485AF.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="570" data-original-width="800" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpG6Ws4GCIFk9Gi_FZa01d5z573U-CYKw-KVcZCfS7u_cMxnc3khp1efbKJp4nKJeFRbQGfHR3_EZM1CWeWyf5oU76_SXbX0aSTwTPjODi0Wzf5rcDpUhCBWtekuwoueeWqwdG4WpsIu1u9MUsqx_0u4EyFCpARA6GqAnkDmTMNPhNgFK6Jg/s320/DF22D2F3-7B79-4CCD-B447-C7E1DA6485AF.jpeg" width="320" /></a></div><br /><div><br /></div><div><br /></div>
Northern Nguni: probably Zulu
South Africa
Headrest
19th century
Wood and pigment <div><br /></div><div><span style="color: #ffa400;"><br /></span></div><div><span style="color: #ffa400;">In their most basic function, headrests like those in this case are wooden
pillows, used by some men and women to protect elaborate hairstyles
during sleep- as in the photograph at right, taken in South Africa in
the early 20th century, of a Zulu woman (with her nursing child) . These
objects also serve as expressions of social and cultural beliefs all over
Africa, especially in southern and eastern regions. Cattle are so highly
valued among the Nguni people, serving as symbols of prosperity, that
carvers often incorporate four legs and other bovine forms to effciently
represent the animals or to flaunt high status and wealth. Headrests are passed down through generations and help to connect each owner with
ancestors and spiritual forces, often through dreams</span></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3XO-xIF-PsV2zGNSQnBoJn7p7GZdTzxRX6yHdyqTaI5-Df5P_JaPRKlaNZNF7GJpQ7twIcLufpCBzHVb5pOpj8DyDIXSEhFYTudYmN-ZQrfM9mAKdKiAWQshND4vR7qzcSca9RVd3jU26L_XNd10o3fgLuCxZtb6yGft9w7Rk1umTNrqoCQ/s800/A87D0572-6BA5-4CF9-95A4-85F6351D202A.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="786" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3XO-xIF-PsV2zGNSQnBoJn7p7GZdTzxRX6yHdyqTaI5-Df5P_JaPRKlaNZNF7GJpQ7twIcLufpCBzHVb5pOpj8DyDIXSEhFYTudYmN-ZQrfM9mAKdKiAWQshND4vR7qzcSca9RVd3jU26L_XNd10o3fgLuCxZtb6yGft9w7Rk1umTNrqoCQ/s320/A87D0572-6BA5-4CF9-95A4-85F6351D202A.jpeg" width="314" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="text-align: center;">Unidentified culture
Possibly Benue River Region, Nigeria</div><p style="text-align: center;"> Male Figure
Possibly 19th century,
Copper alloy </p><div><br /></div><div><br /></div><div><span style="color: #ffa400;">Although its cultural and geographic origins are unknown to us, this
unique figure's scale and the care taken to create it as well as the material
used suggest that it was associated with prestige and authority, whether
secular or sacred, Similar metal sculptures were observed in the 1970s
and '80s in the Benue River Valley region along the Nigeria- Cameroon
border and may have been part of a shrine dedicated to a guardian deity.</span></div><div><br /></div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeTaqhuxBcjgkl-gqELFk-gupEjst_ujycH6QnpwsdQ_4mHtUt0EWvH09iwpa-txAs2S5OnMHfUMvmqMNUGKN7tn7boXi6kGxs9Vrx9u62hOvNkC9jETisVsFn49xeNZZgtsbegYrxd6m4T2iS-Rx5ZDcZaoHLeqTgf14YDn_hIGfqcBlCNQ/s800/5DE5BCB5-3CBA-48F4-B41E-A0FDAF721A27.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="666" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeTaqhuxBcjgkl-gqELFk-gupEjst_ujycH6QnpwsdQ_4mHtUt0EWvH09iwpa-txAs2S5OnMHfUMvmqMNUGKN7tn7boXi6kGxs9Vrx9u62hOvNkC9jETisVsFn49xeNZZgtsbegYrxd6m4T2iS-Rx5ZDcZaoHLeqTgf14YDn_hIGfqcBlCNQ/s320/5DE5BCB5-3CBA-48F4-B41E-A0FDAF721A27.jpeg" width="266" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="text-align: center;">Southern Nguni; South Africa, or
Southern Sotho;</div><div><div style="text-align: center;"> Lesotho
Pipe
19th century
Wood, pigment, and iron</div><div><br /></div><div><div><br /></div><div><span style="color: #ffa400;">The missing stopper of this pipe, delicately shaped like a female figure,
was probably a carved head. A pipe this carefully made would have been
inherited within a family or descendant group, for use by either a man or
a woman. Its design and craftsmanship honor its role in fostering connections with ancestors as well as the cultural expectation that tobacco
should be generously shared. In southern African, both smoking and
snuffing tobacco were often associated with promoting fertility and
procreation, in addition to serving social and leisure functions.</span></div></div></div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkN8KT98bHSLNJSSXdNOt31oT5lauD8eHTZ-9KqT2-UvzorUD0x9bR-zV_yZ5iXrVnEPgrqImY2rV8aaH6IDLITAn1TqAW7OJq77-QnO7q4kbATcL0asHnXh9aCIInnZlNRf5auYvWCv_R4QX3dIG9lXnApb4Cl8XF8s5ZBFt0j0d4bG3K2g/s800/CF60FEB0-63C9-40C1-B7E8-A0EECB8BB7E2.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="598" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkN8KT98bHSLNJSSXdNOt31oT5lauD8eHTZ-9KqT2-UvzorUD0x9bR-zV_yZ5iXrVnEPgrqImY2rV8aaH6IDLITAn1TqAW7OJq77-QnO7q4kbATcL0asHnXh9aCIInnZlNRf5auYvWCv_R4QX3dIG9lXnApb4Cl8XF8s5ZBFt0j0d4bG3K2g/s320/CF60FEB0-63C9-40C1-B7E8-A0EECB8BB7E2.jpeg" width="239" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div><br /></div><div style="text-align: center;">Kota: Mindumu
Gabon
Reliquary Guardian Figure
(Mbulu Ngulu)</div><div><div style="text-align: center;">19th century
Wood, copper, and brass </div><div><br /></div><div><br /></div><div><br /></div><div><span style="color: #ffa400;">This sculptural form shows a dynamic interplay between abstraction
and realism. Its skull-shaped head likely impressed its original viewers
and called attention to the potent ancestral remains it guarded, pre
served within a basket or bark receptacle. In the 20th century, Western
visitors found it comparatively easy to purchase such figures from their
Kota owners, who would not consider parting with the containers be-
cause the sacred contents served as a gateway to the ancestors.</span></div></div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7e9lIo6pD9KxIt-ZS5B33nekVPo41VGZnDxTaNvD2fymZ7cmqqa_wkHQYljVMraB8AREjoHL3smtfaNke1OF4C_PG03GVfV6md7W2bwRfYaJB009HZAufmh1rT2357J3Tp5h1TiXKuzRtavRX-to5_b_nOHjfw-V9bEtG8M2_xj3JWqQL5g/s800/D74255BB-7064-4B6F-B3A1-007B5D96DA34.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="622" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7e9lIo6pD9KxIt-ZS5B33nekVPo41VGZnDxTaNvD2fymZ7cmqqa_wkHQYljVMraB8AREjoHL3smtfaNke1OF4C_PG03GVfV6md7W2bwRfYaJB009HZAufmh1rT2357J3Tp5h1TiXKuzRtavRX-to5_b_nOHjfw-V9bEtG8M2_xj3JWqQL5g/s320/D74255BB-7064-4B6F-B3A1-007B5D96DA34.jpeg" width="249" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdOni96UvJZLtj0gU9aqDgs1zfRs2CmMl_0aTNuoIpTeNNcR4EzXJhjgP5hPTTh9mTdlYSJztcIFGI4R4OngXdA-dCfCDFtt8Q32yI7xcRacvT5JLAw-W_ehecJ8rZC1GfdESq7Yds1lICoiZ_L6gd1uye7j2f7AbUJuL1Pd46MELIX0njZg/s800/F121A0A0-0AD5-436E-8C68-5B2B0916E3BF.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="597" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdOni96UvJZLtj0gU9aqDgs1zfRs2CmMl_0aTNuoIpTeNNcR4EzXJhjgP5hPTTh9mTdlYSJztcIFGI4R4OngXdA-dCfCDFtt8Q32yI7xcRacvT5JLAw-W_ehecJ8rZC1GfdESq7Yds1lICoiZ_L6gd1uye7j2f7AbUJuL1Pd46MELIX0njZg/s320/F121A0A0-0AD5-436E-8C68-5B2B0916E3BF.jpeg" width="239" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p style="text-align: center;">
Bamileke: Batoufam Kingdom
Cameroon
Portrait of a Queen
(Wife of King Njike)</p><p style="text-align: center;"> Early 20th century
Wood and pigment
Collection of Jan Calmern, Sint-Niklaas, Belgium </p><div><br /></div><div><br /></div><div><span style="color: #ffa400;"><br /></span></div><div><span style="color: #ffa400;">The bold facial expression of this mother carrying a child
would probably have appealed to artists of the German
Expressionist movement, who aspired to render human emo-
tons with raw intensity, They became interested in African
art forms around the early 1900s. This work was previously
part of a set of commemorative portrait figures representing
six generations of royal spouses that were arranged in front
of the king's palace at Batoufam. It can be seen as part of that
grouping in the photograph at right, taken in the 1920s-
just to the left of the entrance. Carved to mark the enthrone-
ment of each king and queen, such sculptures honored the
new rulers as guardians of the well-being of their land and
people. The portrait of King Metang, the tenth sovereign of
Batoufam (the second figure to the right of the entrance), is
on view in the Arts of Africa, Gallery 137.</span></div><div><span style="color: #ffa400;"><br /></span></div><div><span style="color: #ffa400;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_mLYGS-PvDvE48MnqNFi_Z4r3DN5pBVOibOC4X1HzssKoiS0aml4ByPf9XHuK0kwgyvoRYsvCI5gjnafnsd7YEnyx-4BJ7pm5RzAeziXzNEwK5XZVXjGSCyRLv_gWrhJT_rDEUYk-uHTa5RJYOAcDxU1KzcZHtQFo4Knjkz--wccFrV4V1Q/s800/E33366AB-4533-451B-A148-3A8066DBE484.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="564" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_mLYGS-PvDvE48MnqNFi_Z4r3DN5pBVOibOC4X1HzssKoiS0aml4ByPf9XHuK0kwgyvoRYsvCI5gjnafnsd7YEnyx-4BJ7pm5RzAeziXzNEwK5XZVXjGSCyRLv_gWrhJT_rDEUYk-uHTa5RJYOAcDxU1KzcZHtQFo4Knjkz--wccFrV4V1Q/s320/E33366AB-4533-451B-A148-3A8066DBE484.jpeg" width="226" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /></div><div style="text-align: center;"><span style="color: #ffa400;"><br /></span></div><div style="text-align: center;">
Probably a Fonobele workshop
Senufo: Senambele
Côte d'Ivoire</div><div style="text-align: center;"> Male and Female
Paired Figures
19th to early 20th century
Wood and pigment </div><div><span style="color: #ffa400;"><br /></span></div><div><span style="color: #ffa400;"> This imposing pair refers to the first human couple conceived by the
Senufo creator god, Kolotyolo. They celebrate the enduring beauty
of the primordial man and woman and honor the ideal balance
between genders. The figures likely once held rattles and fly whisks
(tools for waving off insects) in their hands; these are emblems of
the Senufo initiation association for men called Poro. The male's
circular crest with an openwork, lizard-shaped design is also one of
Poro's attributes. The pair was prominently displayed- originally
colored with red and white -near the sinzanga, or sacred sanctuary
of the society, during the funeral of a distinguished member.</span></div><div> </div><div> </div><div> As the above gallery text tells us, this couple was painted red and white when used in a funeral. The bare wood, the supporting pins in the ankles, and the dramatic lighting was all done for art loving Europeans.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQt4WCCx-2rYdOUDz2S6InKW8tQCcTr0qs2DS6F8aM6ScucEBcZBzWq2GC4aag6Q832XVnyslcIFxESdygIKudNOEdlwlcQZR0HVC3S782l27MXQXBllnUpIwh7hF-lYmS9uofOu34U9Khb11ewcy_9m2wQ13IpgAEGDpR_1DQjHcWfGrjyw/s800/36EDB804-C492-44CB-B317-143134143EF2.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="412" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQt4WCCx-2rYdOUDz2S6InKW8tQCcTr0qs2DS6F8aM6ScucEBcZBzWq2GC4aag6Q832XVnyslcIFxESdygIKudNOEdlwlcQZR0HVC3S782l27MXQXBllnUpIwh7hF-lYmS9uofOu34U9Khb11ewcy_9m2wQ13IpgAEGDpR_1DQjHcWfGrjyw/s320/36EDB804-C492-44CB-B317-143134143EF2.jpeg" width="165" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Unlike that 1963 exhibit that confined itself to Senufo art,</div><div class="separator" style="clear: both; text-align: center;">this signage offers generalizations about sub-Saharan African art.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Though I can’t see how any of the four qualities other than "youthfulness’ </div><div class="separator" style="clear: both; text-align: center;">relate to the objects in the room, they do all seem to have much in common.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">All the other great traditions of art </div><div class="separator" style="clear: both; text-align: center;">center on some divine program of human redemption</div><div class="separator" style="clear: both; text-align: center;">and rebirth into another world.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">But the carvings in this show are all about a personal and collective</div><div class="separator" style="clear: both; text-align: center;">life in this world.</div><div class="separator" style="clear: both; text-align: center;">Health, power, and fertility are what’s important.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">In that way they’re closer than historical European art</div><div class="separator" style="clear: both; text-align: center;">to life in our modern world.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">And they reflect the reality that outer life depends on inner life,</div><div class="separator" style="clear: both; text-align: center;">so Greco-Roman mimesis is not pursued.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div><br /></div>chris millerhttp://www.blogger.com/profile/09575033275184403015noreply@blogger.com0tag:blogger.com,1999:blog-19047760.post-89474829068042958192022-04-16T20:31:00.028-05:002022-10-02T11:26:05.892-05:00Expo Chicago 2022<p> </p><p><br /></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYZwJ8jEyXIm500uRffiI7MAIy__yBKZ-BOM0VLte71CzmTwz61R2V-DOmS_ZF0N_pvMex4sXWajhWHyGCobyr9U8e-4koLOMS8gINX1TjRgb3U29oNOp7xqm8WLq4fW8RD2l2LkIH9iHmm8pcK093m3KEsjqWOxjX4N_NT129lWpt4yU7QA/s800/E23655E2-6F98-431D-A841-FDE6DAB09A77.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="784" data-original-width="800" height="314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYZwJ8jEyXIm500uRffiI7MAIy__yBKZ-BOM0VLte71CzmTwz61R2V-DOmS_ZF0N_pvMex4sXWajhWHyGCobyr9U8e-4koLOMS8gINX1TjRgb3U29oNOp7xqm8WLq4fW8RD2l2LkIH9iHmm8pcK093m3KEsjqWOxjX4N_NT129lWpt4yU7QA/s320/E23655E2-6F98-431D-A841-FDE6DAB09A77.jpeg" width="320" /></a></div><p></p><p style="text-align: center;">Poojah Pittie, Still Stranger, 2022<br /></p><p><br /></p><p>Yes, I'm a <a href="https://newcityart.blogspot.com/2021/10/pooja-pittie-at-thomas-mccormick-gallery.html">Poojah Pittie
person </a>. I would have bought this if I hadn't bought her showpiece from last year's virtual Expo. All that watery passion - it drives me nuts. Such a strong sense of tunneling into the infinite.<br /></p><p><br /></p><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikLwj_3wG1Fod7ok2uy0afrBD68-WQSmqAjM0xazr8s_Xb46BzF30e3G-wEEGigFKLQWQ2UHmcJHyMcXFNmsQpKIo5hiuNilgaVXxgQwvMcHMXmY0rRJvFuHPq7xftiUcL_pdvWcBJ8C2Qf8hx9NfjVE_4rWIrGpAmO7Nt3c4-fhhQd1oneg/s800/7E605534-C988-41B2-9273-4B7D39E1FEF6.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="796" data-original-width="800" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikLwj_3wG1Fod7ok2uy0afrBD68-WQSmqAjM0xazr8s_Xb46BzF30e3G-wEEGigFKLQWQ2UHmcJHyMcXFNmsQpKIo5hiuNilgaVXxgQwvMcHMXmY0rRJvFuHPq7xftiUcL_pdvWcBJ8C2Qf8hx9NfjVE_4rWIrGpAmO7Nt3c4-fhhQd1oneg/s320/7E605534-C988-41B2-9273-4B7D39E1FEF6.jpeg" width="320" /></a></div><p></p><p style="text-align: center;">Gabrielle Garland,untitled , 2022</p><p><br /></p><p>As noted when I <a href="https://art.newcity.com/2020/03/23/the-american-dream-twisted-a-review-of-gabrielle-garland-at-corbett-vs-dempsey/">reviewed her here</a>, I'm a fan of Garland's cityscapes -- and now I'm even more enthusiastic as they are becoming less goofball cartoonish and more like an ordinary hangover on a bright sunny day.<br /></p><p><br /></p><p><br /></p><p></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBuFJf6qza2Wv9VLUeVROy2L7Cn9NCibYvb5KM6Mbj18cZfvQzvmSDglKW56Law17wQoLHbajE-dTV6-pOXN8rAkHhygWndRSMKBW81Aps51y_EV-1adv9oWwBFOm3yJlKUNfbdhdMpJ2AbgsU8IsgUQRBVF2IFxR4VkRjhBuV70fS-D_eIg/s800/B95B57B8-E2CA-4AB6-BAEA-F7B6F12A940D.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="632" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBuFJf6qza2Wv9VLUeVROy2L7Cn9NCibYvb5KM6Mbj18cZfvQzvmSDglKW56Law17wQoLHbajE-dTV6-pOXN8rAkHhygWndRSMKBW81Aps51y_EV-1adv9oWwBFOm3yJlKUNfbdhdMpJ2AbgsU8IsgUQRBVF2IFxR4VkRjhBuV70fS-D_eIg/s320/B95B57B8-E2CA-4AB6-BAEA-F7B6F12A940D.jpeg" width="253" /></a></div><br /><div style="text-align: center;">Margot Bergman, Carrie, 2016<br /></div><div><div><br /></div><div>Somehow, I've missed the exhibitions of this local artist's work. Which is a shame. She's lots of fun and full of life.<br /></div><br /><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJkPlfwy-61gdRZ9oyhWxRHuVhULvnuB3_x_lvaFH76HL7fpxfCeT6uCJyam2Xjj1rh2uCDPLoQjXHvpOXH2PmbpyCEEpcIipeUTTjpCG6zCNGgXPG0IoAuCEDLnBdXSdUofn7KAUe7lAl3afTwpDQXG489yL4wp8buImk4bMVxL-QcaeOHg/s800/0F4F7437-AAD8-4340-9450-38A0394FEAB2.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="700" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJkPlfwy-61gdRZ9oyhWxRHuVhULvnuB3_x_lvaFH76HL7fpxfCeT6uCJyam2Xjj1rh2uCDPLoQjXHvpOXH2PmbpyCEEpcIipeUTTjpCG6zCNGgXPG0IoAuCEDLnBdXSdUofn7KAUe7lAl3afTwpDQXG489yL4wp8buImk4bMVxL-QcaeOHg/s320/0F4F7437-AAD8-4340-9450-38A0394FEAB2.jpeg" width="280" /></a></div></div><div></div><div></div><div></div><div><br /></div><div style="text-align: center;">Clare Grill, (b. 1979). Chirp, 2022</div><div style="text-align: center;">Wanton, playful,</div><div style="text-align: center;">a free life full of opportunity <br /></div><div> </div><div> </div><div> </div><div> </div><div> </div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYEBW0X-5fDlCylhbqevjCpcj_9VJmSxNW_uxRvQosf8vdHsBANwqTFhmClBoh2az9harjhhFsoOeA649D48SwOvlsNq4SJFiUz-vVRlRVQ_OeiLu2ZYs-03c51dhatKCgnLGmEAcAbhu5cxRMSo_d9hHIh4hGmeWdn3EcS5tLFYI4aeF9mQ/s800/BC6B273D-EA3E-4DF2-917E-AAA510DB0239.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="582" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYEBW0X-5fDlCylhbqevjCpcj_9VJmSxNW_uxRvQosf8vdHsBANwqTFhmClBoh2az9harjhhFsoOeA649D48SwOvlsNq4SJFiUz-vVRlRVQ_OeiLu2ZYs-03c51dhatKCgnLGmEAcAbhu5cxRMSo_d9hHIh4hGmeWdn3EcS5tLFYI4aeF9mQ/s320/BC6B273D-EA3E-4DF2-917E-AAA510DB0239.jpeg" width="233" /></a></div><div> <div><br /></div><div style="text-align: center;">Clare Grill, Rasp</div><div style="text-align: center;">reminds me the Turkish modernist, Bedri Rahmi Eyübo?lu, seen at the Block Museum a few years back.<br /></div></div><div> </div><div> </div><div> </div><div> </div><div> </div><div> </div><div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjImote2O8nVS-0mRF2_k9MEmNHXcZKKKGTgQ4ov3u_jedZEfzGqL0g-Ab_uQHlnWlcifZREgmGnUVTthypnj-XjCeBs51gD49uNZYcYitEpomIFLTPF3vmJAqOMBcE-mMGZjVxQWk5G3QU535amk-VeAvUyl4yUNyjcajcRo_fSRLyH4gQbA/s800/3DBC87C3-C86B-4A05-A077-58383D2332B7.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="581" data-original-width="800" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjImote2O8nVS-0mRF2_k9MEmNHXcZKKKGTgQ4ov3u_jedZEfzGqL0g-Ab_uQHlnWlcifZREgmGnUVTthypnj-XjCeBs51gD49uNZYcYitEpomIFLTPF3vmJAqOMBcE-mMGZjVxQWk5G3QU535amk-VeAvUyl4yUNyjcajcRo_fSRLyH4gQbA/s320/3DBC87C3-C86B-4A05-A077-58383D2332B7.jpeg" width="320" /></a></div> </div><div> <br /></div><div style="text-align: center;">Julio Larraz (b. 1944, Cuba) Les Amours de Neptuno, 2018</div><div style="text-align: center;"> </div><div style="text-align: center;">This is a large, dreamy piece. The artist often imagines beluga whales in the background - though they do seem most appropriate in an inter-coital bedroom scene. Mellow surrealism is really the only kind I like.<br /></div><div style="text-align: center;"> </div><div> </div><div> </div><div> </div><div> </div><div> </div><div> </div><div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-XFP6d4hnnyU4orqEYdSITLlvMX98bWSV1y9aUOXoqGa8l6oMuE28XzDRMcyVLFeht7ISLdvJgGtNxB5GQBHkSJIrlKtXeVMo1NVoDNigYlzNmNs9aA9nKsc4VtQeb3i7X0lITAvKhhLpThVDcXwdv7bt1vE_ijoRpreuQIinlEcnJ7qnOg/s800/5ABD9404-F113-4D15-8407-EDA0CF5F1484.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="697" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-XFP6d4hnnyU4orqEYdSITLlvMX98bWSV1y9aUOXoqGa8l6oMuE28XzDRMcyVLFeht7ISLdvJgGtNxB5GQBHkSJIrlKtXeVMo1NVoDNigYlzNmNs9aA9nKsc4VtQeb3i7X0lITAvKhhLpThVDcXwdv7bt1vE_ijoRpreuQIinlEcnJ7qnOg/s320/5ABD9404-F113-4D15-8407-EDA0CF5F1484.jpeg" width="279" /></a></div><div><br /></div><div><br /></div><div style="text-align: center;">Gertrude Abercrombie, 1947</div><div><br /></div><div>Here's some more whimsical, mellow surrealism from our local master. If only she could have benefited from the current sale of her work back when she was old and broke. </div><div><br /></div>
<a href="https://art.newcity.com/2018/02/16/cats-moon-goddesses-and-visions-of-the-night-a-review-of-gertrude-abercrombie-at-the-elmhurst-art-museum/">Here is </a> a review of her recent show at the Elmhurst Museum.
<div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV8IKP9LBliNmrhfOhDn89VwosgY9cPNTf_iSmOq8xUGPOOgnty2kgu1x2SR11j1xOZYgAu5V7365IZ7lkh6hRuo3pyMwBlFg3mBYHq7tc5Vy9dvPVTkmAgSXvCsrAjCU2PB0ci2-VCbeZL6SIx76GnhM6HH2R3fS9CEvsZzCxVGeKohAF1w/s800/14C47EE5-052C-46E3-BD19-E9E7B048A847.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="641" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV8IKP9LBliNmrhfOhDn89VwosgY9cPNTf_iSmOq8xUGPOOgnty2kgu1x2SR11j1xOZYgAu5V7365IZ7lkh6hRuo3pyMwBlFg3mBYHq7tc5Vy9dvPVTkmAgSXvCsrAjCU2PB0ci2-VCbeZL6SIx76GnhM6HH2R3fS9CEvsZzCxVGeKohAF1w/s320/14C47EE5-052C-46E3-BD19-E9E7B048A847.jpeg" width="256" /></a></div><div><br /></div><div><br /></div><div style="text-align: center;">Albert Irvin (1922-2015) , Upper Thames , 2010</div><div style="text-align: center;"> </div><div style="text-align: center;">ABX need not be angry or depressed! </div><div style="text-align: center;"> </div><div style="text-align: center;">Over-the-top, ever expanding joy..... all from a man who was 88 years old.<br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCSk89uCbDrlju9jg_2_-cYCza9q_d_ORxfdFN0cjxWo6VGL0VdhCd6bqUdJERHdi86_jrADJpfSKxyrkypQyOAOe7Xvhq2ahKZGgOcsG0G7xgsWlwDE6rcz6OkrPukYjSAEIjA0Rr998ggkzgEUd7oi-ha9u8vRl7NPjAE5synN01ITGDIA/s800/419A48B8-CEB3-4528-A631-E41143F0BD7E.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="587" data-original-width="800" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCSk89uCbDrlju9jg_2_-cYCza9q_d_ORxfdFN0cjxWo6VGL0VdhCd6bqUdJERHdi86_jrADJpfSKxyrkypQyOAOe7Xvhq2ahKZGgOcsG0G7xgsWlwDE6rcz6OkrPukYjSAEIjA0Rr998ggkzgEUd7oi-ha9u8vRl7NPjAE5synN01ITGDIA/s320/419A48B8-CEB3-4528-A631-E41143F0BD7E.jpeg" width="320" /></a></div><div><br /></div><div style="text-align: center;">Claudio Bravo, 1992</div><div><br /></div><div><br /></div><div style="text-align: center;">Yikes! what a great painting.</div><div style="text-align: center;">Those damn big melons are still growing!</div><div style="text-align: center;">(and every time I look, there seems to be one more) <br /></div><div style="text-align: left;"><br /></div><div><br /></div><div><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPUESQcviQw5P7owaIvcIBz5e8qwhL_C0fUwyeDPP7ZDjxmRrTb_xQNebskMh9T3zPFQznZjgKmK121ItYO4SGiWLzK1Y5z8BeIPHmDoz2ance-tAyHPyX6OTYGHsZxKD8y356hUWwRlaHu6C7v0oRrAWJIq_AAIlxKAsfkYvkU6QErecG8A/s800/2413A09D-CFEC-4D85-BD39-DC68029FA0A6.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="629" data-original-width="800" height="252" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPUESQcviQw5P7owaIvcIBz5e8qwhL_C0fUwyeDPP7ZDjxmRrTb_xQNebskMh9T3zPFQznZjgKmK121ItYO4SGiWLzK1Y5z8BeIPHmDoz2ance-tAyHPyX6OTYGHsZxKD8y356hUWwRlaHu6C7v0oRrAWJIq_AAIlxKAsfkYvkU6QErecG8A/s320/2413A09D-CFEC-4D85-BD39-DC68029FA0A6.jpeg" width="320" /></a></div><div><br /></div><div><br /></div><div style="text-align: center;">Claudio Bravo, 2002</div><div style="text-align: center;">The drama, wonder and amazement of the ordinary. <br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdwEdLRfxdMBwr3Og6QlVD2AcIub82rFGSgUzZ6khpMAGG89Ff73EJSzqmCTkt4PsSQOTx68Vgm48RG1EVLkelC9eORlJXU0ObiEWyGJil4leP9A6nF9-EC5Xqm3sE4OZFNJGYDZHVZzj8ukBn0-KHr7RBM_pmU3Cxy5VSnvfnc-3hvrpZyQ/s800/0C9BB422-7386-4B56-8020-2D2F0C3FA4A6.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="410" data-original-width="800" height="164" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdwEdLRfxdMBwr3Og6QlVD2AcIub82rFGSgUzZ6khpMAGG89Ff73EJSzqmCTkt4PsSQOTx68Vgm48RG1EVLkelC9eORlJXU0ObiEWyGJil4leP9A6nF9-EC5Xqm3sE4OZFNJGYDZHVZzj8ukBn0-KHr7RBM_pmU3Cxy5VSnvfnc-3hvrpZyQ/s320/0C9BB422-7386-4B56-8020-2D2F0C3FA4A6.jpeg" width="320" /></a></div><br /><div style="text-align: center;">Daniel Massad, Providence , 2016, (pastel on paper)</div><div style="text-align: center;"> </div><div style="text-align: center;"> </div><div style="text-align: center;"> The energy in these forms is so driven inward, I'm surprised the entire sheet of paper is not sucked into a black hole. One of the scariest pieces in the show. <br /></div><div style="text-align: center;"> </div><div style="text-align: left;"><br /></div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqm-IeizNxPBxH_xcMr3uZDJy43naiwkIwZofatWLo_n9oV-xyu96DjVnRTXNXAy9h6Qn02jUKqqgzQKm6uobxOCEJhcfzDaZEKQWki4_XrSOj-6jPEXA_a8cJIC0dY623_6pY4_D_Q1sVuxucxFOZiR83RJiSniR8Y7ynSX04axRxGdrUYw/s800/97748B2A-0D4A-4A9E-9894-AF437CF447EF.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="663" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqm-IeizNxPBxH_xcMr3uZDJy43naiwkIwZofatWLo_n9oV-xyu96DjVnRTXNXAy9h6Qn02jUKqqgzQKm6uobxOCEJhcfzDaZEKQWki4_XrSOj-6jPEXA_a8cJIC0dY623_6pY4_D_Q1sVuxucxFOZiR83RJiSniR8Y7ynSX04axRxGdrUYw/s320/97748B2A-0D4A-4A9E-9894-AF437CF447EF.jpeg" width="265" /></a></div><div><br /></div><div style="text-align: center;">Michael Reafsnyder, Deep End, 2021</div><div style="text-align: center;"> </div><div style="text-align: center;">Love this urban chaos. An earlier piece by him was seen in Expo 2017. <br /></div><div><br /></div><div><br /></div><div><br /></div><br /><br /><div><br /></div><div><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1AFP-YGuVbbIDfRR0LMaJ32E4k__wLWxHaNv-9LzwIep2VNGn9lOUpyWHeanGHa-N9Fx_w51lSYODWDs2Ni1S9YwoBpYu19ZsTMyrr5RfQXFUobJYla2bWk1KosJgigEvWx-NM_yDw0c-BJl41LyJ4hT5tr8w5M-BMbQBhg1K7X2hVf78Ng/s800/82F646E8-91DD-488E-B2CE-522B87EA6AAD.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="530" data-original-width="800" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1AFP-YGuVbbIDfRR0LMaJ32E4k__wLWxHaNv-9LzwIep2VNGn9lOUpyWHeanGHa-N9Fx_w51lSYODWDs2Ni1S9YwoBpYu19ZsTMyrr5RfQXFUobJYla2bWk1KosJgigEvWx-NM_yDw0c-BJl41LyJ4hT5tr8w5M-BMbQBhg1K7X2hVf78Ng/s320/82F646E8-91DD-488E-B2CE-522B87EA6AAD.jpeg" width="320" /></a></div><div><br /></div><div><br /></div><div style="text-align: center;">Matthew Eguavoen : The Collector III</div><div style="text-align: left;"><br /></div><div><br /></div><div>There were many black bodies depicted in this Expo - but this is the only one that was more painterly than cartoonish. This Nigerian's figures have a real flair .</div><div><br />
Reminds me a lot of <a href="https://newcityart.blogspot.com/2021/11/peter-uka-at-mariane-ibrahim.html">Peter Uka</a> whom I saw recently at a local gallery. Would Eguavoen also mention Kerry Marshall as an influence ?
</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW-xkOreAUVDakxMkeq4ia8RFCQ_zDDhc6csj5JwXFxpfObuQzmTapruoasUNQU_9ptJHSjanVqntXuIrH2du06stjsBvVF0jA1MAXXOHxzJSLB1RP_2w8rtNOm4cgFQBjV56A--5QaDrpMK3iy55O8-SdeP0efHwj3dBjC-bwnswgVB30Ug/s800/87A4E76C-A65B-4AF8-B1FD-A14397FA3095.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="661" data-original-width="800" height="264" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW-xkOreAUVDakxMkeq4ia8RFCQ_zDDhc6csj5JwXFxpfObuQzmTapruoasUNQU_9ptJHSjanVqntXuIrH2du06stjsBvVF0jA1MAXXOHxzJSLB1RP_2w8rtNOm4cgFQBjV56A--5QaDrpMK3iy55O8-SdeP0efHwj3dBjC-bwnswgVB30Ug/s320/87A4E76C-A65B-4AF8-B1FD-A14397FA3095.jpeg" width="320" /></a></div><div><br /></div><div><br /></div><div style="text-align: center;">Donald Teskey, Ballygass, 2013</div><div style="text-align: center;"> </div><div> That fresh, clear, ice cold water is flowing right into the gallery. It seems so Irish to make things feel so vital yet so depressing.</div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGP0WqLWx0iHRcp8_jgKjqJr3G5DeDE1zZ4GTL7ay1gcup0f1VaH4zlLvcMDIgQn0OpkDTEUATa-IpyExHvZ34ZRlhvCJdwl9lyj4O70vkNwrXEhLs2SJp6GozFhyEEw08malCNCWeTYbu5151uzrj3dLC68AirhleqjOViIT6Tphe10R1kw/s800/8CF7B222-D9DC-4917-8D68-15C6B442A267.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="461" data-original-width="800" height="184" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGP0WqLWx0iHRcp8_jgKjqJr3G5DeDE1zZ4GTL7ay1gcup0f1VaH4zlLvcMDIgQn0OpkDTEUATa-IpyExHvZ34ZRlhvCJdwl9lyj4O70vkNwrXEhLs2SJp6GozFhyEEw08malCNCWeTYbu5151uzrj3dLC68AirhleqjOViIT6Tphe10R1kw/s320/8CF7B222-D9DC-4917-8D68-15C6B442A267.jpeg" width="320" /></a></div><div></div><div><br /></div><div style="text-align: center;">???<br /></div><div> </div><div> </div><div> Could not find this artist's name - either at the show or on the Artsy online exhibit catalog. I really liked its brutal spaciousness. The paint is quite thick. <br /></div><div> </div><div> </div><div><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQNrlvWOmKVOFwo30tAuMVhb9DM9ozSEQ8XRMAptdghX8Tcnp4xFu2dVLMwuXXqJdWvQt6XWD8SmGawgoat2kEGhFSXvnfzC0qn8Mqy-TR3xLTXMNLKkvgiBOgThbFyDcWfTBQVC6iHrffxmDWEvehWLEVdOoGSxFWGtqtNYDSUqwRE3klzw/s800/0287FC7B-3761-4F92-A899-4AB8B4F84987.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="616" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQNrlvWOmKVOFwo30tAuMVhb9DM9ozSEQ8XRMAptdghX8Tcnp4xFu2dVLMwuXXqJdWvQt6XWD8SmGawgoat2kEGhFSXvnfzC0qn8Mqy-TR3xLTXMNLKkvgiBOgThbFyDcWfTBQVC6iHrffxmDWEvehWLEVdOoGSxFWGtqtNYDSUqwRE3klzw/s320/0287FC7B-3761-4F92-A899-4AB8B4F84987.jpeg" width="246" /></a></div></div><div></div><div></div><div></div><div></div><div style="text-align: center;">Claire Oswalt<br /></div><div> </div><div> </div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRJpFz_PzlqDthrRpFmsPz3BwDs6Hpq9dWMA3eEJ5NwT93aVGaXslqKI05yLSGm8VETp7_nC-b8XFcuk5lg82lLh_8q2nWwWjtmWEl7MzPpR_90ZF0k1KIskpkIe8nsmbXThBjNw-19QuUEoADixQLTVex_WHvFsjtXvKfEFiFkArr8KfkqA/s800/F3B19FCA-59CB-4C71-AE8E-F725965C226F.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="602" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRJpFz_PzlqDthrRpFmsPz3BwDs6Hpq9dWMA3eEJ5NwT93aVGaXslqKI05yLSGm8VETp7_nC-b8XFcuk5lg82lLh_8q2nWwWjtmWEl7MzPpR_90ZF0k1KIskpkIe8nsmbXThBjNw-19QuUEoADixQLTVex_WHvFsjtXvKfEFiFkArr8KfkqA/s320/F3B19FCA-59CB-4C71-AE8E-F725965C226F.jpeg" width="241" /></a></div><div> </div><div> These large pieces run from floor to ceiling - and they're magnificent. Georgia O'Keefe seems to be lurking in the background - but these paintings have their own unique power - and Oswalt does several other kinds of work as well.</div><div><br /></div><div>After failing to find a CV on her website, it suddenly occurred to me that Oswalt might be called an "outsider" artist. Not because she's poor or crazy - quite the reverse. Coming from a family of physicians, she was on track to become one herself when she realized that she hated hospitals. (and who really likes them?) So she started making art - got picked up by some designers - and her career was launched. No MFA -- not even a BFA - just a born artist.</div><div> </div><div>Hats off to her! <br /></div><div> </div><div><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRoioNURadQLQMBQll5fTfaW5_mbqxSA0F8nngqNSje2L7NeOeqAQHLzyJJEDDVVU3DOHHi55AnkZfAjVZt1Mf1cTKCcCtZjbHtF44huxCZvjrGc7CL525CVGGSoFLVkdbr4DdbfshhkMyJ1lB1uTvagn0Bp0vf6dXvbjvRlobCB2-s3jkYg/s800/67129C24-6A84-4EB1-87B5-B6862329ACC7.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="588" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRoioNURadQLQMBQll5fTfaW5_mbqxSA0F8nngqNSje2L7NeOeqAQHLzyJJEDDVVU3DOHHi55AnkZfAjVZt1Mf1cTKCcCtZjbHtF44huxCZvjrGc7CL525CVGGSoFLVkdbr4DdbfshhkMyJ1lB1uTvagn0Bp0vf6dXvbjvRlobCB2-s3jkYg/s320/67129C24-6A84-4EB1-87B5-B6862329ACC7.jpeg" width="235" /></a></div><div><br /></div><div><br /></div><div style="text-align: center;">Kim Piatrowski, (b. 1965), Anxious Heaven, 2022</div><div><br /></div><div><br /></div><div>It's good that this local painter has finally found a local gallery after Linda Warren closed her doors. Her energy is over the top - or - out the window.<br /></div><div><br /></div><div><br /></div><div><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIW4uuH85t3-NWOARxXUB4SGbTJGJrgQKy65Z1oAEKRlSU-kgnd6uwZQTeDQ1usu06dmvEeZG6BGZWpV1dnfzwFKSaM5UjKl1B1dxj8a921HCVHE59QshR47UNmBDW0z5sPAXNjMZkc_LhyZJGx9_YvQP9T1fzpfSX0AxeM8jlRPW0-xi2SA/s800/13860729-19C5-49D1-8CE7-C05B92470F4E.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="518" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIW4uuH85t3-NWOARxXUB4SGbTJGJrgQKy65Z1oAEKRlSU-kgnd6uwZQTeDQ1usu06dmvEeZG6BGZWpV1dnfzwFKSaM5UjKl1B1dxj8a921HCVHE59QshR47UNmBDW0z5sPAXNjMZkc_LhyZJGx9_YvQP9T1fzpfSX0AxeM8jlRPW0-xi2SA/s320/13860729-19C5-49D1-8CE7-C05B92470F4E.jpeg" width="207" /></a></div><div><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;">Guillermo Munoz Vera (b. 19560 2021</div><div style="text-align: center;"> </div><div style="text-align: center;">Born in Chile, Vera has that cool precision and mystery found in Claudio Bravo who is twenty years older. His figurative work is also wonderful -- too bad it did not come to this exhibit. <br /></div><div><br /></div><div><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2rVTGeRXgurGgIgaY5LBMRth2yKBdopk_1hWB_xx3hkTkPsS9OpPjs8GNvJD8zOlTEKV8CwsqKmATxo9gfjxahLqLgfgkLc8KFIRbJkFvp4bFKhah7pj15aLIMXUpRRtfmhLZFqxt-pCsYWAlAH_rCXqDJw71_5vh12swRYmivIVVnPeLhg/s800/18521304-0775-488C-897D-BB501BE43C41.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="539" data-original-width="800" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2rVTGeRXgurGgIgaY5LBMRth2yKBdopk_1hWB_xx3hkTkPsS9OpPjs8GNvJD8zOlTEKV8CwsqKmATxo9gfjxahLqLgfgkLc8KFIRbJkFvp4bFKhah7pj15aLIMXUpRRtfmhLZFqxt-pCsYWAlAH_rCXqDJw71_5vh12swRYmivIVVnPeLhg/s320/18521304-0775-488C-897D-BB501BE43C41.jpeg" width="320" /></a></div><div><br /></div><div><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;">Brian Rutenberg, (b. 1965), Banner of the Coast, 2021-22</div></div><div style="text-align: left;"><br /></div><div>Rutenberg is also something of an outsider, despite his MFA, because his is painting for viewers who want to be entertained rather than shocked, puzzled, or instructed. Which is to say that he is in that middle-brow artworld inhabited by landscapes, portraits, nudes, and all the other 19th century stuff.</div><div> </div><div>Nothing wrong with that ! But it does restrict his museum exhibitions to his home state of South Carolina (except for Butler Institute in Ohio - which specializes in old school art) <br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF2D5brFJl5W6SJfTgezqFbkeJ0Xwm0O7_Sm--4zSlDqUTRedgzr2G1i2oopijdyAL_m0KPQsaQjBZqf9deiZ-SQLYaDLTSaYU9YSJlrj7M4EM3Sq5fkxAPIn-9CRhrshlQMKVVAoYog0x2LTtVVHK_2cBhGUzKaS_jqLnG7IWZtU4ZBLMKQ/s800/E26C2617-7C12-428E-A8E0-E3460A04FF69.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="673" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF2D5brFJl5W6SJfTgezqFbkeJ0Xwm0O7_Sm--4zSlDqUTRedgzr2G1i2oopijdyAL_m0KPQsaQjBZqf9deiZ-SQLYaDLTSaYU9YSJlrj7M4EM3Sq5fkxAPIn-9CRhrshlQMKVVAoYog0x2LTtVVHK_2cBhGUzKaS_jqLnG7IWZtU4ZBLMKQ/s320/E26C2617-7C12-428E-A8E0-E3460A04FF69.jpeg" width="269" /></a></div><div><br /></div><div><br /></div><div><br /></div><div style="text-align: center;">Alida Cervantes (b. Mexico, 1972) : Santa Babelica, 2017</div><div style="text-align: center;"> </div><div style="text-align: center;">Presumably, Santa Babelica is the patron saint of confusion. <br /></div><div> </div><div> </div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUPUXyJEOQdf9vlidBkDLY0sKkT-2hK_j9RotDvz7HQkbAbZvYXJaKvJKBx4NyGhofs6h-Ad8nc6XclHMDh1LFNsZGAiGPFRB3UiOJB86haAxc7Ynxg_fBj4YzOrZz2Gh_hZYsKyw394yckKNrZ3cPt4uhdLsIZw8RJEFKUl4YRw5JKTKrQw/s800/7703BB1F-102A-4505-96C4-11733D742538.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="578" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUPUXyJEOQdf9vlidBkDLY0sKkT-2hK_j9RotDvz7HQkbAbZvYXJaKvJKBx4NyGhofs6h-Ad8nc6XclHMDh1LFNsZGAiGPFRB3UiOJB86haAxc7Ynxg_fBj4YzOrZz2Gh_hZYsKyw394yckKNrZ3cPt4uhdLsIZw8RJEFKUl4YRw5JKTKrQw/s320/7703BB1F-102A-4505-96C4-11733D742538.jpeg" width="231" /></a></div><div> </div><div> </div><div> A powerful and delightful expressionist. The brush strokes on the canvas seem to be only the tip of a very tall mountain of burning lava.<br /></div><br /><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiawVNg3a3naA7Tj63QTsErP7TjlC1f0zuJJurDsCn-BmbsrD6ytX3EX7bvdqbXBSxZCDV27cQ4oUtmsNzK3t-G_QLk8X0cFcNts1E1a5MnjrPm3-gUrRwMAIrXadaNTitXi9dNkealwObKZuZ7n2wVk-9q2yHG4jZO0RLBgW0JVJWsEXXlA/s800/4ABDCE22-545A-46F1-BCAF-C1F7A3013BFF.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="799" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiawVNg3a3naA7Tj63QTsErP7TjlC1f0zuJJurDsCn-BmbsrD6ytX3EX7bvdqbXBSxZCDV27cQ4oUtmsNzK3t-G_QLk8X0cFcNts1E1a5MnjrPm3-gUrRwMAIrXadaNTitXi9dNkealwObKZuZ7n2wVk-9q2yHG4jZO0RLBgW0JVJWsEXXlA/s320/4ABDCE22-545A-46F1-BCAF-C1F7A3013BFF.jpeg" width="320" /></a></div><div><br /></div><div><br /></div><div><br /></div><div style="text-align: center;">Jane Freilicher (1924-2014), 1980</div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;">she half incloses worlds in her eyes,<br />she moves as the wind is said to blow,<br />she watches motions of the skies<br /> As if she were everywhere to go. -- Frank O'Hara</div><div style="text-align: center;"><br /></div><div style="text-align: center;">She was a good painter - but it's not really obvious why Freilicher was felt to be so integral to the New York School of poets and abstract-expressionist painters. I wrote about her recent pair of Chicago shows <a href="https://art.newcity.com/2014/02/03/review-jane-freilicherpoetry-foundation-and-valerie-carberry-gallery/">here </a>
</div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;">I suppose that her stubborn, retro, authenticity was much appreciated in the avant-garde world of big money.</div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeNpe0nD0ImvEyeYdpIw87V6vsmGZc9XbdT24yBgWRtUty5bo5gGP6pNR4ETPgN0LzbiZ-MDbWbJiBM3mNw22_llAlivPCVf4loZGeYSnkAUNgxvf1TySqt2_w8vaH0ASm9DdwcXlOLoyvb6gZcuschfHQGxeqJ7c8fKvVlJkJK7dZ7mcD-Q/s800/15AEBB5B-C4AD-455E-ACF6-64B6AC12925C.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="688" data-original-width="800" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeNpe0nD0ImvEyeYdpIw87V6vsmGZc9XbdT24yBgWRtUty5bo5gGP6pNR4ETPgN0LzbiZ-MDbWbJiBM3mNw22_llAlivPCVf4loZGeYSnkAUNgxvf1TySqt2_w8vaH0ASm9DdwcXlOLoyvb6gZcuschfHQGxeqJ7c8fKvVlJkJK7dZ7mcD-Q/s320/15AEBB5B-C4AD-455E-ACF6-64B6AC12925C.jpeg" width="320" /></a></div><div><br /></div><div><br /></div><div style="text-align: center;">Sean Scully (b. 1945) , Doric Air, 2016</div><div style="text-align: center;"> </div><div style="text-align: center;">Wikipedia tells us that Scully adopted Minimalism, but then rejected it after 1980.</div><div style="text-align: center;"><br /></div><div style="text-align: center;">36 years later, that conflict still seems apparent.</div><div style="text-align: center;">By themselves, each of the monochrome boxes is Minimalism.</div><div style="text-align: center;">But taken together, they are not.<br /></div><div style="text-align: center;"> </div><div style="text-align: center;"> </div><div style="text-align: center;"> </div><div><br /></div><div><br /></div><div><br /></div><br /><br /></div><div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSvBtZCVzxQ3StsLA8j3h2L_xuEQvvwTloOwD4r_fbilnP-f87yogSrYDtfV0P7UG3a4GtYNE-TQjFOM85YM107v5RZkGOq23Ug8TemWUE_DaDELxhIgN4TqfhPFXcjiewEFyZ4-Z3l-HEl1W5IU5NnYdYEdQqmERpGfbM6FvUApMe4jhy_g/s800/27135A4D-552D-4E29-ABE0-20956B67262A.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="676" data-original-width="800" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSvBtZCVzxQ3StsLA8j3h2L_xuEQvvwTloOwD4r_fbilnP-f87yogSrYDtfV0P7UG3a4GtYNE-TQjFOM85YM107v5RZkGOq23Ug8TemWUE_DaDELxhIgN4TqfhPFXcjiewEFyZ4-Z3l-HEl1W5IU5NnYdYEdQqmERpGfbM6FvUApMe4jhy_g/s320/27135A4D-552D-4E29-ABE0-20956B67262A.jpeg" width="320" /></a></div><div style="text-align: center;"><br /></div><div style="text-align: center;">Candida Alvarez, Are you listening to this, 2022</div><div><br /></div><div style="text-align: center;">Our local Puerto Rican master still hasn't run out of steam. </div><div style="text-align: center;">
I wrote about her 2017 retrospective <a href="
https://art.newcity.com/2017/06/26/painting-a-life-in-bloom/">here </a></div>
<div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXirgyRcd0SpDZkfXeHNNF0vmo5VCaTdqmuJM4kXjgsy3TR3ZeQsysoKKI5HqgKPZ4Bw7f7gTlEAOrVi0QgzTy8fTnmCTJ_nzJ8TCsNzm2atJg3IwbfZdw-UZzmApSA-9N7Ti224AbYAheJHmdyBZ3Hom_QWmFEi8kyha92b6McnD3lwz4jg/s800/C994A7B7-DEE0-43B7-A0F7-7B204A0F165E.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="595" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXirgyRcd0SpDZkfXeHNNF0vmo5VCaTdqmuJM4kXjgsy3TR3ZeQsysoKKI5HqgKPZ4Bw7f7gTlEAOrVi0QgzTy8fTnmCTJ_nzJ8TCsNzm2atJg3IwbfZdw-UZzmApSA-9N7Ti224AbYAheJHmdyBZ3Hom_QWmFEi8kyha92b6McnD3lwz4jg/s320/C994A7B7-DEE0-43B7-A0F7-7B204A0F165E.jpeg" width="238" /></a></div><div><br /></div><div><br /></div><div style="text-align: center;">Allie McGhee (b. 1941)</div><div> </div><div> </div><div> <br /></div><div> </div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDNLssKMekSiBsdZwFWf9qjMgVFcyb1AJZDPdeIWAzENEkf58f9hgFyO8ysQBBgi-xprAJeSF3zOmm0asZNAzxZ1N_GI4fZqRuK4E53rfK45ZqOOsHrjzJ1q3L-WHi6CnAZUe8RnEW3uP76gIVUwjCOmF_oNmXmVNoig23G3E362oqvm0CKA/s800/4A27740F-45B1-4C49-BC12-888BF9FEE4DC.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="629" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDNLssKMekSiBsdZwFWf9qjMgVFcyb1AJZDPdeIWAzENEkf58f9hgFyO8ysQBBgi-xprAJeSF3zOmm0asZNAzxZ1N_GI4fZqRuK4E53rfK45ZqOOsHrjzJ1q3L-WHi6CnAZUe8RnEW3uP76gIVUwjCOmF_oNmXmVNoig23G3E362oqvm0CKA/s320/4A27740F-45B1-4C49-BC12-888BF9FEE4DC.jpeg" width="252" /></a></div><div> </div><div> </div><div> </div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTCE_wKHaYLrTHPwfyw27Whl7vt5xEKR2pwOlfX6j1UFzkkpAO2a2OB42VBodweZhoJa8Tjs8e4Zil2G357z9f2bmsL1fNxnYwMNUUJyIxdC80NWTGNpz_Z8CK7hlGIxl6W814m_wrphkseXN2S9-9YnqhmvywRzK7gwWCD4BLpua--MW5_g/s800/ED89FF54-7FC1-4521-BECC-366FE10C8C60.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="630" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTCE_wKHaYLrTHPwfyw27Whl7vt5xEKR2pwOlfX6j1UFzkkpAO2a2OB42VBodweZhoJa8Tjs8e4Zil2G357z9f2bmsL1fNxnYwMNUUJyIxdC80NWTGNpz_Z8CK7hlGIxl6W814m_wrphkseXN2S9-9YnqhmvywRzK7gwWCD4BLpua--MW5_g/s320/ED89FF54-7FC1-4521-BECC-366FE10C8C60.jpeg" width="252" /></a></div><div> </div><div> </div><div> </div><div> This black Detroit painter would be an excellent candidate for a retrospective in a Chicago art museum - except that his work is not about blackness -- it's about the universe. Not surprisingly, he appears online wearing a John Coltrane t-shirt.<br /></div><div><br /></div><div> </div><div> </div><div> </div><div> </div><div><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHmliipDBKVs4t6Rz5315RosLkA2QBOsv3ocfRLkPIfdU3X3M6qnnDNOF6XxOFXqkwalh0p-cRFzfOKjIqh03X72aKvuLCAq2PFuq7lYMqElhxpFx3048VjZTDDfUh5DIg1crqWnSrX559DClWqYb8wdXTF0PcqhI2Fo74y6eSL_ymUFSJzw/s800/C1442862-7CDF-491F-AE7F-70F2D83FACB1.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="722" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHmliipDBKVs4t6Rz5315RosLkA2QBOsv3ocfRLkPIfdU3X3M6qnnDNOF6XxOFXqkwalh0p-cRFzfOKjIqh03X72aKvuLCAq2PFuq7lYMqElhxpFx3048VjZTDDfUh5DIg1crqWnSrX559DClWqYb8wdXTF0PcqhI2Fo74y6eSL_ymUFSJzw/s320/C1442862-7CDF-491F-AE7F-70F2D83FACB1.jpeg" width="289" /></a></div><div><br /></div><div><br /></div><div style="text-align: center;">John Little (1907-1984) , Nasasholm, 1970-74</div><div><br /></div><div style="text-align: center;">Joyfully balanced on the edge of awkward - without falling over.<br /></div></div><div><br /><div><br /></div><br /><br /><div><br /></div><div><br /></div><div><br /></div><div><br /></div><br /><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDNGrTBDA_mLefCer1GkUtlEj78dM6ir7i6q6vqoRyXQ3RTDPVqlFGNEB0hkf0wyW_11pu-7qyZzOG59Irf7ZWb2meSltAF9Ia_rqj4LO4bhJZNO6be3S_VG9oa2RKQL1-MkgO8VunJeyWjWt01koOgINCQKnSgvIj4oogUrgBmlGTa1qlpw/s800/7AD205DA-CD74-4F49-921B-F829B3DBD9FE.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="619" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDNGrTBDA_mLefCer1GkUtlEj78dM6ir7i6q6vqoRyXQ3RTDPVqlFGNEB0hkf0wyW_11pu-7qyZzOG59Irf7ZWb2meSltAF9Ia_rqj4LO4bhJZNO6be3S_VG9oa2RKQL1-MkgO8VunJeyWjWt01koOgINCQKnSgvIj4oogUrgBmlGTa1qlpw/s320/7AD205DA-CD74-4F49-921B-F829B3DBD9FE.jpeg" width="248" /></a></div><br /></div><div> </div><div> </div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4MgKYLErPQsUMfKYmAfVGJZQzeefdhMipoe10KewXLwNXgVkzKu3mqnUcCGLdNqJSfQcg4_k6hxcu6qK3t7ksyqe7udXRUo8djHU7GfoMHqM_RwlfpzeAT-KwVV823arC89Ts4_96q6xWHhKDfUAeO52hzOkq-ZuIoWrCaLSR2y220SN7yQ/s800/E3953C0B-F64F-4529-9D79-88301B4A9E44.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="630" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4MgKYLErPQsUMfKYmAfVGJZQzeefdhMipoe10KewXLwNXgVkzKu3mqnUcCGLdNqJSfQcg4_k6hxcu6qK3t7ksyqe7udXRUo8djHU7GfoMHqM_RwlfpzeAT-KwVV823arC89Ts4_96q6xWHhKDfUAeO52hzOkq-ZuIoWrCaLSR2y220SN7yQ/s320/E3953C0B-F64F-4529-9D79-88301B4A9E44.jpeg" width="252" /></a></div><div> </div><div style="text-align: center;"> Nancy White<br /></div><div> </div><div> </div><div> Cool, mysterious, non-threatening --as peacefully domestic as upholstered furniture in evening light.<br /></div><div><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim0u88DqwpKmzr49PoUTWFtgqkpOVTeJQtJIogqSEhebiSRSdIwOSrIVT_SapvoNCAbPCa1UgC_MdAsfQXpVnJrbZJ1u1VHb4HIqLFkIaOQw2ahyir3avu1SJD5chM_iHCnpnTczpnftMOQDcbFCW1wYmMLN1tLfjP_0yTRbXznZo3004lrw/s800/52E88D14-6ADA-45A3-857B-A130BE246688.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="606" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim0u88DqwpKmzr49PoUTWFtgqkpOVTeJQtJIogqSEhebiSRSdIwOSrIVT_SapvoNCAbPCa1UgC_MdAsfQXpVnJrbZJ1u1VHb4HIqLFkIaOQw2ahyir3avu1SJD5chM_iHCnpnTczpnftMOQDcbFCW1wYmMLN1tLfjP_0yTRbXznZo3004lrw/s320/52E88D14-6ADA-45A3-857B-A130BE246688.jpeg" width="242" /></a></div><div><br /></div><div style="text-align: center;">Matthew Hansel: to love fully is to find yourself in uncharted waters</div><div style="text-align: left;"><br /></div><div style="text-align: center;">Perhaps not as profound as other Surrealism </div><div style="text-align: center;">-- but I enjoy the tan line over those buttocks.<br /></div><div><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr6cqidlSkmaS7T1cfkcFC-UpIN9san6VJ8MHN2A5EfoZq-tjtNopid77yBaVrVAjYFhYKgzMkRvMSAoUZx57ULBPV4Jb8ZxPs_eQxsdgwmW5P3ds4daxQPf0Tt5C1lXwycZ6jcHdlJufOeTwKX7vjpbf84mbeUwh3-p2ZQ7rPnxocx_1F8w/s800/0255D17D-9CE9-4BB7-9BC4-3F0B7633C97E.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="593" data-original-width="800" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr6cqidlSkmaS7T1cfkcFC-UpIN9san6VJ8MHN2A5EfoZq-tjtNopid77yBaVrVAjYFhYKgzMkRvMSAoUZx57ULBPV4Jb8ZxPs_eQxsdgwmW5P3ds4daxQPf0Tt5C1lXwycZ6jcHdlJufOeTwKX7vjpbf84mbeUwh3-p2ZQ7rPnxocx_1F8w/s320/0255D17D-9CE9-4BB7-9BC4-3F0B7633C97E.jpeg" width="320" /></a></div><div><br /></div><div><br /></div><div style="text-align: center;">Bob Thompson, The Entombment, 1963<br /></div><div style="text-align: center;"> </div><div style="text-align: center;"> I wrote about his 2022 show at the Smart Museum
<a href="https://newcityart.blogspot.com/2022/03/bob-thompson-at-smart-museum.html"> here </a>
<br /></div><div style="text-align: center;"> </div><div style="text-align: center;"> This is a fine, small piece.<br /></div><div style="text-align: center;"> </div><div style="text-align: center;"> </div><div style="text-align: center;"> </div><div style="text-align: center;"> </div><div><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlB7Yw4-S_mzSNfC1xutf_YlaorqcMa8rB1fmZfkLjJlHg1U_yEgNhJJvlsw-LRajbAK_83ZD35cVa6Nnh_XOpIug2JgcMfWSMYxYJiLRNN_VXmjpuQrh6PaKzz-RZnkxiMvRGkd4jrdUUrvsUIqe5AvpMOZlj6lBxzXItWlde3m8gvapbhw/s800/850105EE-17BB-4E88-AAAD-87B43366F07F.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="720" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlB7Yw4-S_mzSNfC1xutf_YlaorqcMa8rB1fmZfkLjJlHg1U_yEgNhJJvlsw-LRajbAK_83ZD35cVa6Nnh_XOpIug2JgcMfWSMYxYJiLRNN_VXmjpuQrh6PaKzz-RZnkxiMvRGkd4jrdUUrvsUIqe5AvpMOZlj6lBxzXItWlde3m8gvapbhw/s320/850105EE-17BB-4E88-AAAD-87B43366F07F.png" width="288" /></a></div><div><br /></div><div><br /></div><div style="text-align: center;">Liliane Tomasco (b. 1967), All that We Want, 2021</div><div style="text-align: center;"> </div><div style="text-align: center;">Perhaps presenting the conflict between the orderliness of where she lives, Switzerland, with the turbulence of her ethnic identity (Hungarian) <br /></div><div style="text-align: center;"> </div><div> </div><div> </div><div> </div><div><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO3VdB3RWA44BZge1lgd223Kbs59qlot1mXNMZw8DdcSkaIRbDN6hZ_Tepg5hVri_MyYsBLR35B0yod_sTBe-RUZC2lJTKwRyy0jRgL6jabHH7Oe9-Il9fjOHULi8gpESIKaY9oNIOk3BRFRHV1KnpN_ObiCxpNwr45iZYZiP-noxdfs9xzQ/s800/C87E1815-2932-439B-9444-074740A85BAD.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="626" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO3VdB3RWA44BZge1lgd223Kbs59qlot1mXNMZw8DdcSkaIRbDN6hZ_Tepg5hVri_MyYsBLR35B0yod_sTBe-RUZC2lJTKwRyy0jRgL6jabHH7Oe9-Il9fjOHULi8gpESIKaY9oNIOk3BRFRHV1KnpN_ObiCxpNwr45iZYZiP-noxdfs9xzQ/s320/C87E1815-2932-439B-9444-074740A85BAD.jpeg" width="250" /></a></div><div><br /></div><div style="text-align: center;">Kyle Dunn, The Match</div><div style="text-align: center;"> </div><div style="text-align: center;"> </div><div style="text-align: center;"> The homoeroticism upfront in Dunn’s other work is more subtle here - suggested by the partially obscured wall hanging in the background - but mostly felt in the warm glowing color applied to such an intimate moment.</div><div style="text-align: center;"><br /></div><div style="text-align: center;">Without such color, you get something like the piece shown below:</div><div style="text-align: center;"> <div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTXl9xsw-BrgZEIv4WNz5lagTMxoWwfVfvYgoDoLhmYYuN8l0M0jmXsVfxUH1i0xU6lIak8Ld8z3-Mqsqlgrf7FuIXmpEav30pulhbvpDX9P9j6ms6mW7qxGpEApJ5efJE0jOvisf6HCC7yRnB-19O7D3l4gXHk4b_cjODT5oCHM00MKNghQ/s800/7DDE82D2-ED14-4576-BD2D-365C3D6A7536.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="633" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTXl9xsw-BrgZEIv4WNz5lagTMxoWwfVfvYgoDoLhmYYuN8l0M0jmXsVfxUH1i0xU6lIak8Ld8z3-Mqsqlgrf7FuIXmpEav30pulhbvpDX9P9j6ms6mW7qxGpEApJ5efJE0jOvisf6HCC7yRnB-19O7D3l4gXHk4b_cjODT5oCHM00MKNghQ/s320/7DDE82D2-ED14-4576-BD2D-365C3D6A7536.jpeg" width="253" /></a></div></div><div><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAuJnJGBgO-vTBFU3uMOTXdjo8ZOf2Dgngu8UPO-fQaAKH5WLNeWWTceoVK85d6enNaslw5giFJ9jsQqi_8gQ_gnGDQnIOC9N6qN6Y7KkfeyaCMGCYcCAqljZGiQ97zG4KehYsp999R4_QAwMZp2BG5CJj5DEARMynXDujfT5I88HRq8E9sA/s800/E0F51392-7788-42A0-A0EE-D54F0C79DBB4.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="796" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAuJnJGBgO-vTBFU3uMOTXdjo8ZOf2Dgngu8UPO-fQaAKH5WLNeWWTceoVK85d6enNaslw5giFJ9jsQqi_8gQ_gnGDQnIOC9N6qN6Y7KkfeyaCMGCYcCAqljZGiQ97zG4KehYsp999R4_QAwMZp2BG5CJj5DEARMynXDujfT5I88HRq8E9sA/s320/E0F51392-7788-42A0-A0EE-D54F0C79DBB4.jpeg" width="318" /></a>-</div><div style="text-align: center;"><br /></div><div style="text-align: center;">John Moore (b. 1941), Sea View</div><div style="text-align: center;"><br /></div><div style="text-align: center;">Less like a cityscape or seascape, and more like a passing glance out a window.</div><div><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcGB2Lr8Y4HHCOfka7Vf5pbdxBwXCeWJ5FLk32FaGFkwKXRELfj2_dpT5jBBho688QmmYk2EVtyaQ3PuTPQP5mrU3UlKzDFHXtQys-i4mtm0olxn6Gnz0h8LjXTWTeN64nER32fum6ho4N5M4tIg7VoEv20FuCtx9Y5Oxcv7oJjToKw6894Q/s800/E4DFF137-1986-4321-B42B-0F9DF7DB0D2B.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="637" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcGB2Lr8Y4HHCOfka7Vf5pbdxBwXCeWJ5FLk32FaGFkwKXRELfj2_dpT5jBBho688QmmYk2EVtyaQ3PuTPQP5mrU3UlKzDFHXtQys-i4mtm0olxn6Gnz0h8LjXTWTeN64nER32fum6ho4N5M4tIg7VoEv20FuCtx9Y5Oxcv7oJjToKw6894Q/s320/E4DFF137-1986-4321-B42B-0F9DF7DB0D2B.jpeg" width="255" /></a>-</div><div><br /></div><div style="text-align: center;">Jonni Cheatwood, He was a the third</div><div style="text-align: center;"><br /></div><div style="text-align: center;">The artist is now putting ABX masks over all of his faces - where every mask, even if unique, expresses the same thing. It’s more like a gimmick than anything else… but I still like this painting.<br /></div></div><div><br /><div><br /></div><div><br /></div><div><br /></div><div><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV2YIMd9DUuceQYspUEkLd8ymWtIjC88SUUlCFG8vicUjvGsBPIO7p7nT5fBldUG9agECkspeNhJNgWhK8GgmBVKZkc6t54N7AgjqbJ1-742PJXcRzqSMST2Z7hHkRbroeSNBt7NFk-cKI9GAp82ZI1Qxos3jqOqh6319p4FBNNGuwBYAvjg/s800/5B2F3942-EF05-43A3-A80B-E11A3EF3138E.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="645" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV2YIMd9DUuceQYspUEkLd8ymWtIjC88SUUlCFG8vicUjvGsBPIO7p7nT5fBldUG9agECkspeNhJNgWhK8GgmBVKZkc6t54N7AgjqbJ1-742PJXcRzqSMST2Z7hHkRbroeSNBt7NFk-cKI9GAp82ZI1Qxos3jqOqh6319p4FBNNGuwBYAvjg/s320/5B2F3942-EF05-43A3-A80B-E11A3EF3138E.jpeg" width="258" /></a></div><div><br /></div><div><br /></div><div style="text-align: center;">Marc Dennis</div><div style="text-align: center;"> </div><div style="text-align: center;">An excellent joke piece. The little Black Hat in the center can't take his eyes off the barmaid's bosom, while his companions are looking at each other (as they should)</div><div style="text-align: center;">And, of course, there's also Manet’s Black Hat in the corner of the painting itself. <br /></div><div><br /></div><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCFFv0cObHbO4GhPji-dR3eqsuE-KasG1cGfuE67wQLdbjvfdCGcMD2GvVckxf5hZLWb5AaJLDgIFBHnriG4Y_-3EjCRsy1AAu6a1RWBiYiYpVDzPfjKuRprxNu1meVH_l1v9PtEpfOaOb4gqQXuluCRo5hwfRDlbSzjnTe_vpfDmhICMQhw/s697/C65CF7C6-DF15-49AF-BCD0-F873B12593E3.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="697" data-original-width="459" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCFFv0cObHbO4GhPji-dR3eqsuE-KasG1cGfuE67wQLdbjvfdCGcMD2GvVckxf5hZLWb5AaJLDgIFBHnriG4Y_-3EjCRsy1AAu6a1RWBiYiYpVDzPfjKuRprxNu1meVH_l1v9PtEpfOaOb4gqQXuluCRo5hwfRDlbSzjnTe_vpfDmhICMQhw/s320/C65CF7C6-DF15-49AF-BCD0-F873B12593E3.jpeg" width="211" /></a></div><div><br /></div><div style="text-align: center;">Elijah Burgher: Apollo and Marsyas, after Antionio de Bellis</div><div> </div><div> </div><div> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoJBWjRojlhsKN8LAz8Qb_Nh8Zby5PmVPXe3B6BGrDCb89oH4ic0M2ljoe_Idrwj8dXVgWRKDZArRDuka1ZPRLywep1CLrvBy46MLYeV0kOdf-PdBQWV3MYOoFWMiMga6VA8krG9Wies94PbPDT6EeqPYBpqO5SVaxlcAN3NUniAy1rw5lcw/s800/ZZ-MARSYAS.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="477" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoJBWjRojlhsKN8LAz8Qb_Nh8Zby5PmVPXe3B6BGrDCb89oH4ic0M2ljoe_Idrwj8dXVgWRKDZArRDuka1ZPRLywep1CLrvBy46MLYeV0kOdf-PdBQWV3MYOoFWMiMga6VA8krG9Wies94PbPDT6EeqPYBpqO5SVaxlcAN3NUniAy1rw5lcw/s320/ZZ-MARSYAS.jpg" width="191" /></a></div><br /></div><div style="text-align: center;"> Antionio de Bellis</div><div> </div><div><br /></div><div>Richard Willenbrink painted a luxuriant version of this story about thirty years ago, back when he lived in Chicago. Regrettably, it cannot be located online.</div><div><br /></div><div>Burgher's version is pretty repulsive - but that is more fitting for the subject matter. Evidently he felt that Apollo's head needed to be much larger than De Bellis did. I’m guessing that his Apollo is a portrait someone he knows. This is a very large work with colored pencil and watercolor. <br /></div><div><br /></div><div><br /></div><div><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj98T2mIQ3Z_DK153Squp7tdThgBNYpmXaZRrwjqLYtLZnXN0Y4rR3ftdFwiq1RGFRlyhiRUmzIR2drU_k2a9T3QanR-USNKvKi-LVz7T495-sWIf2pBZBDOYna5YBO99UUJa3bYkdnl4i_FCFo9nKShWPENkqtlQWxtkyFZnfYmWTiJZbOuA/s800/F2E44ED0-46B8-485A-9A66-49521306596F.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="611" data-original-width="800" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj98T2mIQ3Z_DK153Squp7tdThgBNYpmXaZRrwjqLYtLZnXN0Y4rR3ftdFwiq1RGFRlyhiRUmzIR2drU_k2a9T3QanR-USNKvKi-LVz7T495-sWIf2pBZBDOYna5YBO99UUJa3bYkdnl4i_FCFo9nKShWPENkqtlQWxtkyFZnfYmWTiJZbOuA/s320/F2E44ED0-46B8-485A-9A66-49521306596F.jpeg" width="320" /></a></div><div><br /></div><div><br /></div><div style="text-align: center;">Nick Dawes</div><div style="text-align: center;"> </div><div style="text-align: center;">A fine young British exponent of Color Field Painting. </div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div><br /></div><br /><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioYpbBf7X-anzO_y3XGOhjoQK7kxbs6DZQqC8wG5XBUCDFNVA7I-0u5azdtv6QTe5iEuR1889-1UIwySwD1-x0Wh6-5jeEaPT6N-4FaPvKhW48Z9QziflU_YfC_aNs_VUBzvQKHKN4cLdEOUU-gNeCJmnd1TsaXODB8Nra0mAccOoSFUD2ZA/s800/3CE5D792-65FB-4D3D-9B75-291FB3364DAB.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="557" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioYpbBf7X-anzO_y3XGOhjoQK7kxbs6DZQqC8wG5XBUCDFNVA7I-0u5azdtv6QTe5iEuR1889-1UIwySwD1-x0Wh6-5jeEaPT6N-4FaPvKhW48Z9QziflU_YfC_aNs_VUBzvQKHKN4cLdEOUU-gNeCJmnd1TsaXODB8Nra0mAccOoSFUD2ZA/s320/3CE5D792-65FB-4D3D-9B75-291FB3364DAB.jpeg" width="223" /></a></div><div><br /></div><div><br /></div><div style="text-align: center;">Oswaldo Vigas (1923-1914), Centaura, 1990</div><div><br /></div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-fXQjKNfIbWTGOrQZ4riPQpNwCWnoEhhG9DXSVU-sEKbcfznhhPzVXWu9OC7bMMNvMWuNNzAEWKjelDi5j5GpQ4SZP33QOh3b5MnO6lSw6BSA4TMmcW63dT36x8KssD_Q9D73gs7uqhh_uPBB-hvKopQLdWJ6RG5xe4uyyI-CqUK29plGFA/s800/C5CA88E6-B9B9-4970-8E0C-2FBE2E2841F3.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="462" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-fXQjKNfIbWTGOrQZ4riPQpNwCWnoEhhG9DXSVU-sEKbcfznhhPzVXWu9OC7bMMNvMWuNNzAEWKjelDi5j5GpQ4SZP33QOh3b5MnO6lSw6BSA4TMmcW63dT36x8KssD_Q9D73gs7uqhh_uPBB-hvKopQLdWJ6RG5xe4uyyI-CqUK29plGFA/s320/C5CA88E6-B9B9-4970-8E0C-2FBE2E2841F3.jpeg" width="185" /></a></div><div></div><div><br /></div><div style="text-align: center;">There's plenty of life in these little monsters.</div><div style="text-align: center;">It's not surprising that an online photo shows Vigas embracing Picasso.<br /></div><div style="text-align: left;"><br /></div><div><br /></div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgipUoKn8F-_gML_BPp4iiLJv11LgU5uzPD9YupLczgFhto39KXqYYyHDkpt2oRB-TaZQpmVrNA1mqSZ5YusTYH6mNdXq5xs9Bjhigfb5PM-1-k8rCWDrDUineCMbQGG7D6mawOA6GIHJUaKR8tkZcv3gzSe8HJPe_-XOK61RFjsOTP0ljB6Q/s800/75600E06-D4FD-400E-B388-33A14E73D373.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="633" data-original-width="800" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgipUoKn8F-_gML_BPp4iiLJv11LgU5uzPD9YupLczgFhto39KXqYYyHDkpt2oRB-TaZQpmVrNA1mqSZ5YusTYH6mNdXq5xs9Bjhigfb5PM-1-k8rCWDrDUineCMbQGG7D6mawOA6GIHJUaKR8tkZcv3gzSe8HJPe_-XOK61RFjsOTP0ljB6Q/s320/75600E06-D4FD-400E-B388-33A14E73D373.jpeg" width="320" /></a></div><div></div><div style="text-align: center;"><br /></div><div style="text-align: center;">My camera's view out a window on Navy Pier on the day of Expo, <br /></div><div style="text-align: center;">a possible tribute to John Moore's painting shown above.<br /></div></div>chris millerhttp://www.blogger.com/profile/09575033275184403015noreply@blogger.com0tag:blogger.com,1999:blog-19047760.post-50168233808724433392022-01-31T11:30:00.003-06:002022-02-01T09:48:31.477-06:00Abbott Pattison - sculptor<p> </p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjnxtyDSu_dR40Q3S31Zu8v52osVcypeRUj3sRm4KXh-jouTbdmWLFj7NFEw8fuOizjM7_H9-GzcjzQn349zwUhAzX7LQ9HY_ul90ZnqUW0llY4PGXmWyHMQmpUEtbyA2oEuOOB5biOM0Mboe0KqEDVgxa5rqF-c7tX1skzdAOGDlzcDVJoMQ=s480" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="480" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEjnxtyDSu_dR40Q3S31Zu8v52osVcypeRUj3sRm4KXh-jouTbdmWLFj7NFEw8fuOizjM7_H9-GzcjzQn349zwUhAzX7LQ9HY_ul90ZnqUW0llY4PGXmWyHMQmpUEtbyA2oEuOOB5biOM0Mboe0KqEDVgxa5rqF-c7tX1skzdAOGDlzcDVJoMQ=s320" width="320" /></a></div><div style="text-align: center;">Abbott Pattison, Winged Figure<br /></div><div><p><br /></p><p>This small bronze just caught my eye in the catalog of an upcoming auction. It has that same cheerful uplift that’s often seen in my father’s work. Midwestern men of the same generation, both were medaled for combat in WW2 and then came home to begin careers in sculpture. Both were skilled in a variety of media, though it does appear that Pattison never carved wood and my father never worked metal. The big difference is that Pattison studied art at Yale while my father studied at Olivet - a tiny progressive liberal arts college in Michigan which at that time offered an Oxford style tutorial with a curriculum of great books. The Jewish mythopoetic sculptor, Milton Horn, was one of his tutors.</p><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjnnEnncOYvbrtc5aeGqqHnWfKqx9DsU6meKMcc-zrR4Q9Y82A9t02JHmYlCmoPMxbB1iuXtujCJnA3nZ8SJa4IMJuha_N5fv5dVpfbqx_tws0EHjCiKMNAsBlVdxnivXCQHwFDXh_aPSqqO2xDvHOMxirradxWQN1sF0XyD2Ob9t2Skcpc7Q=s800" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="403" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEjnnEnncOYvbrtc5aeGqqHnWfKqx9DsU6meKMcc-zrR4Q9Y82A9t02JHmYlCmoPMxbB1iuXtujCJnA3nZ8SJa4IMJuha_N5fv5dVpfbqx_tws0EHjCiKMNAsBlVdxnivXCQHwFDXh_aPSqqO2xDvHOMxirradxWQN1sF0XyD2Ob9t2Skcpc7Q=s320" width="161" /></a></div></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both;"></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Richard Miller, 1975 </div><div class="separator" style="clear: both;">(rather Hellenistic, no ? - with a cast so sharp it looks like the original clay) <br /></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><br /></div></div><p>Yale encouraged Pattison to become an eclectic modernist sculptor. Horn introduced my father to earlier practices. Both would end up making pieces that were buoyant and sometimes goofy.</p><p> </p><p>And both appeared in the first (and regrettably last) survey of contemporary American sculpture presented by the Metropolitan Museum of Art in 1951.</p><p> The jury included Robert Beverly Hale, then the Associate Curator of American Art at the Met and still famous for his lectures in anatomy on videotape. The sculptors on the jury included: Donal Hord, Cecil Howard, Robert Laurent, Hugo Robus, David Smith, and William Zorach.</p><p><br /></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiCU4TexAsTpuInePvA7qXnleQqroaQ3crPum5DAxkITK1JvwZVmUo-TQz7ixLZMp1A5Cyaa5RZD-_U9ZHzKctwG02IkbZdr_AlAuO2tbAbfnlhAMs-MDB_W3t4Dk-tSApJxvN0OTFu_c7jZCvAY3LVYClY1O5JWaA6Pasd2_JWL5c0EQ2iug=s800" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="450" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEiCU4TexAsTpuInePvA7qXnleQqroaQ3crPum5DAxkITK1JvwZVmUo-TQz7ixLZMp1A5Cyaa5RZD-_U9ZHzKctwG02IkbZdr_AlAuO2tbAbfnlhAMs-MDB_W3t4Dk-tSApJxvN0OTFu_c7jZCvAY3LVYClY1O5JWaA6Pasd2_JWL5c0EQ2iug=s320" width="180" /></a></div><div style="text-align: center;">Pattison, Striding Man, 1948<br /></div></div><div><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhb_odJuVBwMXn1rZVuR3h8cAo5xha2okPwvkvUlGxC6yc5RLeU6XwXt8dpJTMZUvP4XId5qgkLnqycLtzTZxFeP5rwmO9qH_3eq2iZ1QrWYyJUj7rylECGQl4pIAPmdoKPC8dfEk3RapIVrmo0fxkBIfYGhNHts5PFutFMmviE3oPIa4or6w=s700" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="623" data-original-width="700" height="285" src="https://blogger.googleusercontent.com/img/a/AVvXsEhb_odJuVBwMXn1rZVuR3h8cAo5xha2okPwvkvUlGxC6yc5RLeU6XwXt8dpJTMZUvP4XId5qgkLnqycLtzTZxFeP5rwmO9qH_3eq2iZ1QrWYyJUj7rylECGQl4pIAPmdoKPC8dfEk3RapIVrmo0fxkBIfYGhNHts5PFutFMmviE3oPIa4or6w=s320" width="320" /></a></div><div style="text-align: center;">Richard Miller, Bull<br /></div></div><div><p><br /></p><p>Pattison's Surrealistic, eviscerated, discombobulated man brings to mind the Chicago Monster Roster. These post-war artists, some of them veterans,ike Leon Golub, reacted strongly against the upbeat figurative idealism of Fascist, Communist, and American public sculpture. </p><p>My father's piece is more like art-deco. But it isn't merely decorative. It feels cultic enough to belong in the ancient Middle Eastern temple or palace.<br /></p><p><br /></p><p><br /></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjiq2O7dbMQQOvorY-g-YiDLcmUutdA65hpiiRQ-cQ5j6pJatPBKWLJ2u3ftbjWMNFiCT6TGu8BgAgwA3fd1HuQwBPWBwzmTNgZl2pqepM6ewhFNOj2pKZAJNzdbxveqMlw-3VhKn4V8gF01RgyusFyQPNVc1lf1dN2vI4x6zbf6C9DN0yXAg=s800" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="638" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEjiq2O7dbMQQOvorY-g-YiDLcmUutdA65hpiiRQ-cQ5j6pJatPBKWLJ2u3ftbjWMNFiCT6TGu8BgAgwA3fd1HuQwBPWBwzmTNgZl2pqepM6ewhFNOj2pKZAJNzdbxveqMlw-3VhKn4V8gF01RgyusFyQPNVc1lf1dN2vI4x6zbf6C9DN0yXAg=s320" width="255" /></a></div><div style="text-align: center;">Milton Horn, Job, 1947<br /></div></div><div><p style="text-align: center;">Horn's memorial to the victims of the Holocaust was also included in this exhibit.<br /></p><p></p><p><br /></p><p>Regretfully, this was the high point of my father's
career. He was hired but soon fired from the Cincinnati Art Academy. He was too independent to hold a teaching position at a
reputable institution and he would get few commissions.</p>Pattison,
however,soon became Sculptor in Residence at the University of Georgia -
where he produced the 2-ton, twelve foot monument shown below:<br /><p><br /></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjT2jHMuR2lJXejIwRn6i3eOQ-XmM4qULsRRAM4pk47FIKIrSh2MVyzdZGHDGWlWCqMXuH81g_Q62aPBdEm1I5q9U4Za6iXhmHf4z20ovx1LHc_pzaKBnHFFUEzlbJe8zoN6U36RU7n70n5iP3EKYWQ_zf-CkzQxYclBeuJRBx5wv75jC9HOA=s582" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="504" data-original-width="582" height="277" src="https://blogger.googleusercontent.com/img/a/AVvXsEjT2jHMuR2lJXejIwRn6i3eOQ-XmM4qULsRRAM4pk47FIKIrSh2MVyzdZGHDGWlWCqMXuH81g_Q62aPBdEm1I5q9U4Za6iXhmHf4z20ovx1LHc_pzaKBnHFFUEzlbJe8zoN6U36RU7n70n5iP3EKYWQ_zf-CkzQxYclBeuJRBx5wv75jC9HOA=s320" width="320" /></a></div><p></p><p style="text-align: center;">Abbott Pattison, Iron Horse, 1954</p><p><br /></p>It caused quite a sensation on that conservative campus. Students vandalized it so often, it was eventually moved out to a farm where it stands today <br /> <p><br /></p><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiRWDbwWeYnpUQugTwAXvKURBEN39j9KV5YUShCrXVf4wko_modlPqRa9wDt3eveg9u-Bx6oa8ZQBkHIXhTuMXkW89V0anaaOTohvI-HVe0v8WiG6aVD2e6OpVh9Ges7xRQVsQmbPy5EK9gtgePmEGkjbbbnU2y1bLsFXXnavW1Iagl3ZmEhA=s800" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="628" data-original-width="800" height="251" src="https://blogger.googleusercontent.com/img/a/AVvXsEiRWDbwWeYnpUQugTwAXvKURBEN39j9KV5YUShCrXVf4wko_modlPqRa9wDt3eveg9u-Bx6oa8ZQBkHIXhTuMXkW89V0anaaOTohvI-HVe0v8WiG6aVD2e6OpVh9Ges7xRQVsQmbPy5EK9gtgePmEGkjbbbnU2y1bLsFXXnavW1Iagl3ZmEhA=s320" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"></div><p></p><p style="text-align: center;">Pattison: Fountain of the Great Lakes, Oak Brook</p><p><br /></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhtsHCIdA-NShHFZvckN5MOEyCwNPnjKQa2zRKjbOGJZsjr0kg0TfzJP7du_3iQLhBTBH3qL7yB1uGdvrFyni6jncbS4N5LXYXNEfQlDxdqIUr4-FyMWVYrerqRvS3t7RMOP1WbHqIAUb47vj11lQ0e01bmDSdfIUc11yI63ACL-hRfzQJ2sg=s600" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="600" height="213" src="https://blogger.googleusercontent.com/img/a/AVvXsEhtsHCIdA-NShHFZvckN5MOEyCwNPnjKQa2zRKjbOGJZsjr0kg0TfzJP7du_3iQLhBTBH3qL7yB1uGdvrFyni6jncbS4N5LXYXNEfQlDxdqIUr4-FyMWVYrerqRvS3t7RMOP1WbHqIAUb47vj11lQ0e01bmDSdfIUc11yI63ACL-hRfzQJ2sg=s320" width="320" /></a></div><div style="text-align: center;">Lorado Taft, Fountain of the Great Lakes, 1913</div><div br=""><br /><a href="http://mountshang.blogspot.com/2006/09/fountain-of-great-lakes.html">Taft's version</a> offered the innocent play of unclothed sorority girls at a stately masque. Pattison has updated it by making them a bit more raucous -- and possibly drunk. Are they at some kind of feminist retreat deep in the woods?</div><div br=""> </div><div br=""><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhXmmzK44bh93kZNiHjT7cOy7hz6N6_7bWTY3UUfiRwDu_v87et2yB8UnrSRiXcVq-jPaX_U-cIVb0wyi8iw9olFXN75eLgT3uorJWJOkJjsl11GP-Znls0nPohcZAD_tfmnV1KtQgfMYLzfo32Lqs_ghdc62f5gWFk85AqqawIIKfXm6vDNQ=s744" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="585" data-original-width="744" height="252" src="https://blogger.googleusercontent.com/img/a/AVvXsEhXmmzK44bh93kZNiHjT7cOy7hz6N6_7bWTY3UUfiRwDu_v87et2yB8UnrSRiXcVq-jPaX_U-cIVb0wyi8iw9olFXN75eLgT3uorJWJOkJjsl11GP-Znls0nPohcZAD_tfmnV1KtQgfMYLzfo32Lqs_ghdc62f5gWFk85AqqawIIKfXm6vDNQ=s320" width="320" /></a></div><div style="text-align: center;">Richard Miller, Noli me Tangere<br /></div></div><div><div br=""><br /></div><div br="">Meanwhile, my father added a bit of whacky irreverence to outdoor festivities in this piece from the 1990's. </div><div br=""> </div><div br="">It may not have been possible for an American artist to get all that serious in the late 20th Century. <br /></div><div br=""><br /></div><div br=""><br /></div></div>chris millerhttp://www.blogger.com/profile/09575033275184403015noreply@blogger.com0tag:blogger.com,1999:blog-19047760.post-41944467367086294582022-01-17T18:48:00.003-06:002022-01-20T10:19:17.637-06:00Le Marron Inconnu<p> </p><p> </p><p> </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi6IewNd4rYfAICTtmw43F5veuA9PztC8duTDomdlnlddX2gYKHHUfcJzHYJc19rsWMRfsfKSDMaLv2W3wxBIx9xRqp2iTUqhlcBX66_85sul0knUOOhm7DSlIBopuW-W5VxdGVseS0-J_N2mQfsHjseSglZ4xmUbaO8UGFslN2Wrcw9yevzA=s750" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="563" data-original-width="750" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEi6IewNd4rYfAICTtmw43F5veuA9PztC8duTDomdlnlddX2gYKHHUfcJzHYJc19rsWMRfsfKSDMaLv2W3wxBIx9xRqp2iTUqhlcBX66_85sul0knUOOhm7DSlIBopuW-W5VxdGVseS0-J_N2mQfsHjseSglZ4xmUbaO8UGFslN2Wrcw9yevzA=s320" width="320" /></a></div><p></p><p></p><p></p><p style="text-align: center;">Albert Mangones, Le Marron Inconnu, 1967</p><p> </p><p></p><p></p><p></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhSJYylKuStfmRxW5E7EyBfQhWtfCPTnnT8mgpxTikLwxFF9ygAtoy5wYmyax237t8_i3Q2aPLBV-bbMOa5MvsXN5q7zmqDwfIvLL3JitpLyLk3N0V8YKr2CRiKDEBOYuito8-AHhKL0ja-SSC6yuSCWoOrFxidCS5WujfvrOKl-PPafYN-AQ=s800" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEhSJYylKuStfmRxW5E7EyBfQhWtfCPTnnT8mgpxTikLwxFF9ygAtoy5wYmyax237t8_i3Q2aPLBV-bbMOa5MvsXN5q7zmqDwfIvLL3JitpLyLk3N0V8YKr2CRiKDEBOYuito8-AHhKL0ja-SSC6yuSCWoOrFxidCS5WujfvrOKl-PPafYN-AQ=s320" width="240" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhkYBxv7w-NKmf3vKPkCmopsEdYNFgCa_gVqP-P3EYRCXstmyS8q8i4XtcrZB8fKcLv2jQlfodt33uimtZb_rOQh9yhenqqB0lIziT4F79T6o1Zee-LN4w78UN28hO1d1o0tvydD8nwcKRhoBoM4j-ZsOosVvR8VLoFgrTgb3MewnO6H30BHg=s800" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEhkYBxv7w-NKmf3vKPkCmopsEdYNFgCa_gVqP-P3EYRCXstmyS8q8i4XtcrZB8fKcLv2jQlfodt33uimtZb_rOQh9yhenqqB0lIziT4F79T6o1Zee-LN4w78UN28hO1d1o0tvydD8nwcKRhoBoM4j-ZsOosVvR8VLoFgrTgb3MewnO6H30BHg=s320" width="240" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhbSWFZ-l1-3OBfkrkmWiqlwIoUvKKgJAKkSx6xWW2OtBnOCDNagfhVyuVOwhu3b_AASDxm4nM5w_ZeWlfgvg37vNQIDk7F8gzE2ix_P9qMahohnyTDuSNGZk1o3HarSINo8n3ciF18qKYxMNpazJM5RS1OGuMYxtyZpvBusMc2TXHDrUT4JA=s593" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="422" data-original-width="593" height="228" src="https://blogger.googleusercontent.com/img/a/AVvXsEhbSWFZ-l1-3OBfkrkmWiqlwIoUvKKgJAKkSx6xWW2OtBnOCDNagfhVyuVOwhu3b_AASDxm4nM5w_ZeWlfgvg37vNQIDk7F8gzE2ix_P9qMahohnyTDuSNGZk1o3HarSINo8n3ciF18qKYxMNpazJM5RS1OGuMYxtyZpvBusMc2TXHDrUT4JA=s320" width="320" /></a></div><br /><p></p><p style="text-align: center;"> This appears to be one of the great public statues of the 20th Century.</p><p style="text-align: center;">So full of power, drama, tension ... and foreboding. (the figure displays violence, vigor, and appetite - a rather volatile combination). It commands the space around it --- for as far as the eye can see. The poor young man has nothing but a loin cloth, a heavy knife, and conch shell of water.</p><p style="text-align: center;">And freedom.</p><p style="text-align: center;"></p><p style="text-align: center;">It was made by an architect. This is his only sculpture to be found on the internet.</p><p style="text-align: center;"></p><p style="text-align: center;">Amazing!<br /></p><p><br /></p>chris millerhttp://www.blogger.com/profile/09575033275184403015noreply@blogger.com0tag:blogger.com,1999:blog-19047760.post-39110617273850177302022-01-17T18:19:00.001-06:002022-01-20T10:25:24.460-06:00The Ed Johnson Memorial in Chattanooga Tennessee
<p> </p><p></p><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;">
<p> </p><p> <a href="https://blogger.googleusercontent.com/img/a/AVvXsEhQraTtGTlPAe6IhyvxUSVrzXisbGPoPPGqMbr7qTt14adHRKR5272PFHFGNbGqEKfa8ASrMyJV78FV3tAocwstAbomK7Ne7COufapGpTHriLNahqFJLDkA9GZYLJAyvYCFilSZo0jSQXMTbOZ1rnpdyltbWygvh9pgG_sQCLn_wYmHQXdn1A=s526" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="519" data-original-width="526" height="316" src="https://blogger.googleusercontent.com/img/a/AVvXsEhQraTtGTlPAe6IhyvxUSVrzXisbGPoPPGqMbr7qTt14adHRKR5272PFHFGNbGqEKfa8ASrMyJV78FV3tAocwstAbomK7Ne7COufapGpTHriLNahqFJLDkA9GZYLJAyvYCFilSZo0jSQXMTbOZ1rnpdyltbWygvh9pgG_sQCLn_wYmHQXdn1A=s320" width="320" /></a></p><p> Jerome Meadows : The Ed Johnson Memorial (detail)<br /></p><p> </p><p>114 years before George Floyd was choked by a policeman in Minneapolis, Ed Johnson was lynched by a mob in Chattanooga. If there's been any noticeable improvement in race relations over that century , it would be that Floyd's death triggered a national discussion about policing and social injustice. The perpetrator was convicted of murder. The Johnson lynching, however, seems to have been just one more episode in the use of terror to dismantle Reconstruction and establish apartheid across the South. A few of the leading perpetrators, including the sheriff, were convicted of contempt of court and soon returned home as local heroes. <br /></p><p>The above statuary group memorializes that event. With one foot on his noose, Johnson is shown as a spirit taking flight in front of the two African American attorneys shown behind him. They appealed his case and and got a stay of execution from the Supreme Court. Despite that success, however, Johnson was dragged from jail and hung from a bridge, while the offices of the two attorneys were later burned and they were forced to flee the state.<br /></p><p><br /></p><p><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgV5kurZKPEeELmWCvYKXkTXH0Mz2iRzEk-DPJqqsWvgDHQVVRllerwhdqqHB7s0WLenWyDGZF6Jqy_UNptGTNECEt9Y-0ytyTlBanonzski_89vEyKAhqgUJpi4DLvlnsnqfCOMHgquriiO7eCrlhZOSpSjIXEtKxHa3bqWI-rgEmhvwB8jQ=s722" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="520" data-original-width="722" height="230" src="https://blogger.googleusercontent.com/img/a/AVvXsEgV5kurZKPEeELmWCvYKXkTXH0Mz2iRzEk-DPJqqsWvgDHQVVRllerwhdqqHB7s0WLenWyDGZF6Jqy_UNptGTNECEt9Y-0ytyTlBanonzski_89vEyKAhqgUJpi4DLvlnsnqfCOMHgquriiO7eCrlhZOSpSjIXEtKxHa3bqWI-rgEmhvwB8jQ=s320" width="320" /></a></p><p> Belle Kinney Scholz : General Alexander P. Stewart, 1915</p><p>Nine years after the lynching, The Daughters of the Confederacy funded the installation of the above bust of a Confederate general in front of the very same county court house where Johnson was convicted by an all-white jury.</p><p>Not a very subtle message, was it ?<br /></p><p>It's a fine statue - at least from this view. It was executed by one of the many female students of the great Chicago sculptor, Laredo Taft. Nearly 100 confederate statues were removed across the South in 2020 - and this should have been one of them. Its connection to lynching, racial injustice, and white supremacy is rather blatant. It certainly does not belong in front of a court house that should be dispensing equal justice to all. Regretfully, however, local authorities recently voted to keep it there.<br /></p><p>"<br /></p><p> </p><p> </p><p> </p><p> </p>
<div class="separator"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgyHZop4ZcJCuCiJF__Q3Zgyj-4PYHJlg6Ot51b5phR5NhgfChiZftXY4_2UAL8fDgfYSdk8WCFdgf76l8pNaNngHC8qSmEzi2ZPsolcdWHMR4JVSu-JODEaOdf40Z7CH8EeaKOyO8w7DMiENT-ZfrTC67Bnwv_JalU1YWX3c5qRvjq8wtyvQ=s602" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="483" data-original-width="602" height="257" src="https://blogger.googleusercontent.com/img/a/AVvXsEgyHZop4ZcJCuCiJF__Q3Zgyj-4PYHJlg6Ot51b5phR5NhgfChiZftXY4_2UAL8fDgfYSdk8WCFdgf76l8pNaNngHC8qSmEzi2ZPsolcdWHMR4JVSu-JODEaOdf40Z7CH8EeaKOyO8w7DMiENT-ZfrTC67Bnwv_JalU1YWX3c5qRvjq8wtyvQ=s320" width="320" /></a></div><br /><br /><br />So it's good that the community will now experience that injustice from another point of view.<br /></div><div class="separator" style="clear: both; text-align: center;">.<br /><br /><br /><br /><br /><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEinmogJlUoDN_aVGpkNbJTVFoXjka6dSwWt1nsnY_XqoeGa_W8Abs3iSfhC-vedrUpMoVfKAek87rJgs_F9end8ENVAXvVxFjvcDZwB_ospOJ1iCWm9XyIBhrt3SVmC_1aMpU2CW0mE4VHyoEvJctkyV1bXF3q9KXWJ0G5dvWqkobwNNkUWZw=s503" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="503" data-original-width="334" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEinmogJlUoDN_aVGpkNbJTVFoXjka6dSwWt1nsnY_XqoeGa_W8Abs3iSfhC-vedrUpMoVfKAek87rJgs_F9end8ENVAXvVxFjvcDZwB_ospOJ1iCWm9XyIBhrt3SVmC_1aMpU2CW0mE4VHyoEvJctkyV1bXF3q9KXWJ0G5dvWqkobwNNkUWZw=s320" width="212" /></a></div><p></p><p style="text-align: center;">This is a positive, uplifting, almost religious monument. Johnson steps on his noose just as a saint might present the weapons that martyred her. Their power has been defeated because spirit is immortal.<br /></p><p><br /></p><p><br /></p><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi9No3-TJSUizMrShiBgTubWmkmZXEDXnaDO9kzj5YtReLG4DSNxvlhr3ihFpvdbD1RHttlDllwhB7QBVSVO0UFxtTsey8wGOQUHDiLlUF_qQsfJcIbfJWfqhpGEonTdTqRhAOKGUaWIZhKWRCKhqJKYtZVmlC-wyjjvJLDMhzmSIBmOiualg=s647" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="647" data-original-width="613" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEi9No3-TJSUizMrShiBgTubWmkmZXEDXnaDO9kzj5YtReLG4DSNxvlhr3ihFpvdbD1RHttlDllwhB7QBVSVO0UFxtTsey8wGOQUHDiLlUF_qQsfJcIbfJWfqhpGEonTdTqRhAOKGUaWIZhKWRCKhqJKYtZVmlC-wyjjvJLDMhzmSIBmOiualg=s320" width="303" /></a></div><p></p><p><br /></p><p>Jerome Meadows, the artist, does not specialize in figurative
sculpture. This monument is unique in his oeuvre. But he is an inventive, thoughtful, and aesthetic creator. He saw what he needed to
be done and he found the means to do it. </p><p><br /></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhFJp9iMYoFTxGCKO22-dXvHA9JvpeoApj0YmI_9CD1hWOFDYJLxd8lUnKRDa-NVYnDkbdj99BvvokhrCJFJkd2Z0LW_5QMeec5V1qAMPdnfHMnJp-Rs1MCqQ7LXS9t2qSSQ66uFA1L_BbWRp0Gp1BaQj8k0OoGQABVfCa08Kx82F27pICkAg=s492" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="492" data-original-width="442" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEhFJp9iMYoFTxGCKO22-dXvHA9JvpeoApj0YmI_9CD1hWOFDYJLxd8lUnKRDa-NVYnDkbdj99BvvokhrCJFJkd2Z0LW_5QMeec5V1qAMPdnfHMnJp-Rs1MCqQ7LXS9t2qSSQ66uFA1L_BbWRp0Gp1BaQj8k0OoGQABVfCa08Kx82F27pICkAg=s320" width="287" /></a></div><p></p><p><br /></p><p><br /></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg1vfE3jfFvffQilA_r13ffoZNqWWZwWDqM-v5kDGM3rN6AHmeFf3uQVrxMGOPYJdcu-bDAayF1ERnndAalvk487gGmCuj99PgRHyiUYEvekkKmpjjslm3gEQOoHR96ezPeTuf8rivYx0acnSc2Mo_hZv8myBmVfidth796lmbsLCOV689OaA=s662" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="448" data-original-width="662" height="217" src="https://blogger.googleusercontent.com/img/a/AVvXsEg1vfE3jfFvffQilA_r13ffoZNqWWZwWDqM-v5kDGM3rN6AHmeFf3uQVrxMGOPYJdcu-bDAayF1ERnndAalvk487gGmCuj99PgRHyiUYEvekkKmpjjslm3gEQOoHR96ezPeTuf8rivYx0acnSc2Mo_hZv8myBmVfidth796lmbsLCOV689OaA=s320" width="320" /></a></div><p></p><p><br /></p><p>His three figures stand like a grove of trees - their legs rooted to the ground, their bodies rising up to the sky -- their arms gently swaying like branches in the wind. They are far more pleasant than the rather ugly old iron bridge beside it. <br /></p><p>I would like to have seen more inner power in the heads - but these may be the first life size heads Meadows has ever modeled. <br /></p><p><br /></p><p><br /></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEihpvN1QNgfW9Myvv2PLawoHTLUeldGzKLlBuYTv2iic8iqSMhChWfHJ39Uykbtn59vvW6MsFcsZMcyz51vc7ssZqRHb8xDuUkrwWJESyKduQqQTXmNqUoXxBMFiRXTiB9woxPSBP-KAEFxY4nkt8eZPVgp6ICWVSO1_yhUXRi2F9cRW4y77Q=s800" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="534" data-original-width="800" height="214" src="https://blogger.googleusercontent.com/img/a/AVvXsEihpvN1QNgfW9Myvv2PLawoHTLUeldGzKLlBuYTv2iic8iqSMhChWfHJ39Uykbtn59vvW6MsFcsZMcyz51vc7ssZqRHb8xDuUkrwWJESyKduQqQTXmNqUoXxBMFiRXTiB9woxPSBP-KAEFxY4nkt8eZPVgp6ICWVSO1_yhUXRi2F9cRW4y77Q=s320" width="320" /></a></div><p></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhiObK0ETgDU_iFTxesSMeJ99bOcDX0wV5VFueRPV3R4SBnAoIEiBoTU9v4vI9xWJRpn4lsvP4vTqAhsrkMzRZ-2J6eoEqX-Q1OeeKC_JQZU67nS7mhhSCPHhXvjDDDQNcUcnWJK5PpTz3PktIaS27UqjifEztZd0oKaJUzOS687_911QwW-Q=s696" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="696" data-original-width="607" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEhiObK0ETgDU_iFTxesSMeJ99bOcDX0wV5VFueRPV3R4SBnAoIEiBoTU9v4vI9xWJRpn4lsvP4vTqAhsrkMzRZ-2J6eoEqX-Q1OeeKC_JQZU67nS7mhhSCPHhXvjDDDQNcUcnWJK5PpTz3PktIaS27UqjifEztZd0oKaJUzOS687_911QwW-Q=s320" width="279" /></a></div><p></p><p></p><p></p><p></p><p></p><p><br /></p><p></p><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiLR-nqFAnilkRifX2mi-Aeb-CQgfddIvkrI6srWAWSUYEZyXD-Ki3fUOclal1TDpsgXWUz_Hj30MPu6pGdVr5GVey2PbUEnITYoxPSo2Vvo423ztti1df4hciJi66gGZvtfNyIYsFICZ0e0hfkZyECE2b01PDXAfsnicAfqYJGVJlYTcv_pQ=s721" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="721" data-original-width="716" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEiLR-nqFAnilkRifX2mi-Aeb-CQgfddIvkrI6srWAWSUYEZyXD-Ki3fUOclal1TDpsgXWUz_Hj30MPu6pGdVr5GVey2PbUEnITYoxPSo2Vvo423ztti1df4hciJi66gGZvtfNyIYsFICZ0e0hfkZyECE2b01PDXAfsnicAfqYJGVJlYTcv_pQ=s320" width="318" /></a></div><p>The back side of the monument leads down to the Tennessee River.</p><p>The see-through silhouetted standing figures recalls the Haitian folk sculpture cut from oil barrels.<br /></p><p>One of the figures represents Johnson, the other represents Alfred Blount who was lynched there in 1893. <br /></p><br /><p><br /></p><p><br /></p><p><br /></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg0gJjiyI1J-ycLDK_t9buIbH7AdxhGYpXXc6PQvmr2xgDwOEdTSQb8RKeJ6WKMLLT8Fb2_A1nsViGZGRPY4eHGfgj9EzO5NPNcQq3EpBrFBMiMXc5Do_B_FbXHVAU-pCe4Z7uMdEvwLSAh4Nsl2A8_h-pbPkVfJj426MMhlec9KLRNeqosXg=s800" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="506" data-original-width="800" height="202" src="https://blogger.googleusercontent.com/img/a/AVvXsEg0gJjiyI1J-ycLDK_t9buIbH7AdxhGYpXXc6PQvmr2xgDwOEdTSQb8RKeJ6WKMLLT8Fb2_A1nsViGZGRPY4eHGfgj9EzO5NPNcQq3EpBrFBMiMXc5Do_B_FbXHVAU-pCe4Z7uMdEvwLSAh4Nsl2A8_h-pbPkVfJj426MMhlec9KLRNeqosXg=s320" width="320" /></a></div><p></p><p style="text-align: center;">This is another one of the finalists for the memorial's design.<br /></p><p style="text-align: left;"><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjNje0Ei2h2VoGOxom_FJ1RdVtyGe0Huim7ZprNz8HYeTVSJjv49wGDvmArCVPV1-0g7Q8Ehmb3gE8JoN-kfY5P-u9xWGynk7MP5qwQymGgzP3q-FVXGpwc9LlmKVAx4I1ejp2FNYk2AqZ6xci77t2X6oIUUWRh5tgAcIUcWhUnGcXatyrrpg=s800" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="519" data-original-width="800" height="208" src="https://blogger.googleusercontent.com/img/a/AVvXsEjNje0Ei2h2VoGOxom_FJ1RdVtyGe0Huim7ZprNz8HYeTVSJjv49wGDvmArCVPV1-0g7Q8Ehmb3gE8JoN-kfY5P-u9xWGynk7MP5qwQymGgzP3q-FVXGpwc9LlmKVAx4I1ejp2FNYk2AqZ6xci77t2X6oIUUWRh5tgAcIUcWhUnGcXatyrrpg=s320" width="320" /></a></div><p></p><p style="text-align: center;">Presumably, the figurative relief was optional.</p><p><br /></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgTKJb5dxOWxXFfRGgTjKMto09fntNe2EO6IXNrsh27bB6Tu0oQp5F9e7LQGxee69NNXhd7oMEJwfu08901Tvp0f_-2GeUWnes7rXEv7ZVzA8J5Sm3yyCqafypHCRTt3nN_L40LOgfahH0KvbGiFRa2Kkdo4Blm0KDzUP2yw0DU_Q4slbc4AQ=s800" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="541" data-original-width="800" height="216" src="https://blogger.googleusercontent.com/img/a/AVvXsEgTKJb5dxOWxXFfRGgTjKMto09fntNe2EO6IXNrsh27bB6Tu0oQp5F9e7LQGxee69NNXhd7oMEJwfu08901Tvp0f_-2GeUWnes7rXEv7ZVzA8J5Sm3yyCqafypHCRTt3nN_L40LOgfahH0KvbGiFRa2Kkdo4Blm0KDzUP2yw0DU_Q4slbc4AQ=s320" width="320" /></a></div><p></p><p style="text-align: center;">This was the third finalist<br /></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEidRpaXbJGtk46fvcYw_Y6N6wb0LUisXYmv_PqMpktuhNvbCcMTKj4vXO-yAonL83K_iEYsc-Qe6_qN4e4GoOLuRCliHSZpy-IB0E7ZHfXyw1mReh2f5eWIj0jHNKJFkxs7hegSEfqTAyl43Fglr0uh8DTImhTr0OrQYsCW4EWFM3uh_sFbtA=s800" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="649" data-original-width="800" height="260" src="https://blogger.googleusercontent.com/img/a/AVvXsEidRpaXbJGtk46fvcYw_Y6N6wb0LUisXYmv_PqMpktuhNvbCcMTKj4vXO-yAonL83K_iEYsc-Qe6_qN4e4GoOLuRCliHSZpy-IB0E7ZHfXyw1mReh2f5eWIj0jHNKJFkxs7hegSEfqTAyl43Fglr0uh8DTImhTr0OrQYsCW4EWFM3uh_sFbtA=s320" width="320" /></a></div><p style="text-align: center;">Likewise, the four other figures must have been optional</p><p></p><p style="text-align: center;">Having a taste for neither bombast nor cartoonish melodrama, I'm glad that Meadows won the competition.</p><p style="text-align: center;"></p><p style="text-align: center;">He tells the story - but he also transcends it.<br /></p><p><br /></p><p><br /></p><p></p><p><br /></p> <p></p><p style="text-align: center;"><br /></p><br />chris millerhttp://www.blogger.com/profile/09575033275184403015noreply@blogger.com0tag:blogger.com,1999:blog-19047760.post-6027075731675478562021-09-11T10:53:00.005-05:002022-12-30T14:12:15.039-06:00Bruce Thorn: The Red Guitar<p>
</p><p style="text-align: center;">I first got to know Bruce Thorn</p><p style="text-align: center;"> after I reviewed <a href="https://art.newcity.com/2015/03/04/review-bruce-thornkoehnline-museum-of-art/">his show at the Koehnline Museum</a> in 2015</p><p style="text-align: center;"> <br /></p><p> </p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbL8xTS1vByzWMVo6MXyXOzpZYKLf-whqPd4ekL1bNwibykrLaX_PSjhCzbxbSZX_-py-aLSzF_XeWnCjFwefQjkcRR5Oz59uy20vzln02LJmYgsKj04EyWEsS1gAFPeFi4T8t/s750/bruce-night.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="750" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbL8xTS1vByzWMVo6MXyXOzpZYKLf-whqPd4ekL1bNwibykrLaX_PSjhCzbxbSZX_-py-aLSzF_XeWnCjFwefQjkcRR5Oz59uy20vzln02LJmYgsKj04EyWEsS1gAFPeFi4T8t/s320/bruce-night.jpg" width="320" /></a></div><div style="text-align: center;">Bruce Thorn, Nightsong (detail)<br /></div><div><p><br /></p><p><br /></p><p style="text-align: center;">Above is a detail from the painting that blew me away.</p><p style="text-align: center;">God knows how he gets that much rapturous intensity into a painting. </p><p style="text-align: center;">I couldn't get it out of my mind - so this year I asked to buy it.<br /></p><p><br /></p><p><br /></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a a="" at="" his="" href="https://art.newcity.com/2015/03/04/review-bruce-thornkoehnline-museum-of-art/" koehnline="" musuem="" show="" the=""></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU1_gU2xr-7QQ5_0mXl6MqbtWEYFqfuruuYyyiM6FHUf-SYxY1gCwvE5ZZMSnMc0pWg8_8Ia8zxX3YdsoMeyApOY1Ct8C6VGUjGUFrkCUCTNwocusLGzZ3SasqG9MXBlqXnnYU/s800/4BDD3252-F344-4C9D-92D5-5257A239E4B0.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="642" data-original-width="800" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU1_gU2xr-7QQ5_0mXl6MqbtWEYFqfuruuYyyiM6FHUf-SYxY1gCwvE5ZZMSnMc0pWg8_8Ia8zxX3YdsoMeyApOY1Ct8C6VGUjGUFrkCUCTNwocusLGzZ3SasqG9MXBlqXnnYU/s320/4BDD3252-F344-4C9D-92D5-5257A239E4B0.jpeg" width="320" /></a></div><br /><p style="text-align: center;">Bruce Thorn: Night Watch</p><p style="text-align: center;"><br /></p><p style="text-align: center;">Sadly, Nightsong had already been sold -- but Night Watch was available</p><p style="text-align: center;">so now I am its proud owner.</p><p style="text-align: center;">Bruce's paintings are so weird and dense,</p><p style="text-align: center;">every time I look, it feels like a first viewing.<br /></p><p style="text-align: left;"><br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi85lvahruAstDVKCKfFpXudAflGDl9uPsgY0XKd3d3C2HQDfnpyHA4XvA0M_2SHayaRabVzocO9XthPO9NOlAVWWSQflShfjYrP6dhZVVbwFUd-GPKqtfo9f4o7ovdOEqcEimy/s800/thorn1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="609" data-original-width="800" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi85lvahruAstDVKCKfFpXudAflGDl9uPsgY0XKd3d3C2HQDfnpyHA4XvA0M_2SHayaRabVzocO9XthPO9NOlAVWWSQflShfjYrP6dhZVVbwFUd-GPKqtfo9f4o7ovdOEqcEimy/s320/thorn1.jpg" width="320" /></a></div><p></p><p style="text-align: center;">Bruce Thorn : The Red Guitar</p><p><br /></p><p style="text-align: center;">Recently, he finished a much larger painting, "The Red Guitar" and sent me a photo,</p><p style="text-align: center;">probably suspecting that I would be as thrilled by it as he. </p><p style="text-align: center;"> </p><p style="text-align: center;"> <br /></p><p style="text-align: center;">He was right.<br /></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi08-chksYWGilz1_7rAmucCzUnoFJTphrYdd2gcaqZqZrWbdJi13ALlGSXzMYqSwbZvCr0iuUozhdrUn-oXbKkxnEJTJUv2_0XZgR-_85gMQkpDqO3jxC1EFw6ud_wCtrYZ2X6/s800/thorn2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="762" data-original-width="800" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi08-chksYWGilz1_7rAmucCzUnoFJTphrYdd2gcaqZqZrWbdJi13ALlGSXzMYqSwbZvCr0iuUozhdrUn-oXbKkxnEJTJUv2_0XZgR-_85gMQkpDqO3jxC1EFw6ud_wCtrYZ2X6/s320/thorn2.jpg" width="320" /></a></div><p></p><p><br /></p><p style="text-align: center;">It's like a view of the cosmos: scary, infinite, unpredictable,</p><p style="text-align: center;">wonderful, never ending.</p><p style="text-align: center;">It belongs in a shrine for the worship of the universe.</p><p style="text-align: center;">Kandinsky would have recognized a soul mate.<br /></p><p><br /></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiabRks7zSuNwklOtnWcLMgXRdYu1pJmgCIw8phtzGESCgX8-a2IgHBjU8u3dufnALZhYCj4grL4ZvX4xSdgoalxF84Yl9Cycv_bB3n1eUnGT-F_fo0YT9HUDHjQN5slydxZNBa/s800/F0258FC7-033D-4989-823A-C125F965B708.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="695" data-original-width="800" height="278" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiabRks7zSuNwklOtnWcLMgXRdYu1pJmgCIw8phtzGESCgX8-a2IgHBjU8u3dufnALZhYCj4grL4ZvX4xSdgoalxF84Yl9Cycv_bB3n1eUnGT-F_fo0YT9HUDHjQN5slydxZNBa/s320/F0258FC7-033D-4989-823A-C125F965B708.jpeg" width="320" /></a></div><p></p><p style="text-align: center;">He then he invited me to view it in his studio<br /></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMb-mIFq0ENSD9QDk2yEiImlHTSgSNaj2litKE1JemleBkclMsNiHUEOsJ1wb-o83c1mgVBgwOHm7Yd-Ix0iWqHI-fEqSZ7Q08bwG_RAhJMuWJikWS-3yuKND4BuxKXYcy2EQU/s800/2F0BAF2C-4CA8-4F8F-9A09-E2898F5A2C96.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="800" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMb-mIFq0ENSD9QDk2yEiImlHTSgSNaj2litKE1JemleBkclMsNiHUEOsJ1wb-o83c1mgVBgwOHm7Yd-Ix0iWqHI-fEqSZ7Q08bwG_RAhJMuWJikWS-3yuKND4BuxKXYcy2EQU/s320/2F0BAF2C-4CA8-4F8F-9A09-E2898F5A2C96.jpeg" width="320" /></a></div><p></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgBe12B-AEdIgtz4Oi6JWMcODf0DWe7wtsjWILhsE2I1nBkb53IK1c_3WJdl2o5SbOUOpq9E-n8C0qWo18weaJ7kOtxu9ERYJGxVrBnAZgTHiIdCqmjveh5G-JbBYlUkHoQgl4/s800/75A965CC-BF71-4FBB-843F-59FDA4C0101E.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="800" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgBe12B-AEdIgtz4Oi6JWMcODf0DWe7wtsjWILhsE2I1nBkb53IK1c_3WJdl2o5SbOUOpq9E-n8C0qWo18weaJ7kOtxu9ERYJGxVrBnAZgTHiIdCqmjveh5G-JbBYlUkHoQgl4/s320/75A965CC-BF71-4FBB-843F-59FDA4C0101E.jpeg" width="320" /></a></div><p></p><p style="text-align: center;">Bruce works a lot with surface texture, so photographs are really inadequate.<br /></p><p></p><p><br /></p><p></p><p><br /></p><p><br /></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx6R7UoTAB2G6kUvxSBQem63YNvpU7ly-PJdrzXbmNxKfWRpvAP5qDgmhrjNe5So7vJcVf0avjasTFR7eb1OuwkiM3ynfj4gkNJxDKRtN-R-ZksZIBTg83ULV4B9Uf30qj6OyN/s800/D9DCE4AD-B94F-43E5-88C9-10267A1EA04F.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="745" data-original-width="800" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx6R7UoTAB2G6kUvxSBQem63YNvpU7ly-PJdrzXbmNxKfWRpvAP5qDgmhrjNe5So7vJcVf0avjasTFR7eb1OuwkiM3ynfj4gkNJxDKRtN-R-ZksZIBTg83ULV4B9Uf30qj6OyN/s320/D9DCE4AD-B94F-43E5-88C9-10267A1EA04F.jpeg" width="320" /></a></div></div><div></div><div></div><div>
<br /><br /></div><div style="text-align: center;">Here's another piece in his studio that I really like.</div><div style="text-align: center;">If it were a QR code<br />it might link to some divinity’s home page</div><div style="text-align: center;">Perhaps Loki ? <br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlZJ96UGWOEPeBkEtIwRpwR3XHNUZjJFX1ghprGv21pb9ufuVHctPwIWsCmFmcEt7d1NCb5OkolgwLtdBVtI-fSAXqn1Lz1w0wz1j_FjPbLOlIjGxWwnQVo6MJRs37HxO68c4C/s800/tobey+6.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="599" data-original-width="800" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlZJ96UGWOEPeBkEtIwRpwR3XHNUZjJFX1ghprGv21pb9ufuVHctPwIWsCmFmcEt7d1NCb5OkolgwLtdBVtI-fSAXqn1Lz1w0wz1j_FjPbLOlIjGxWwnQVo6MJRs37HxO68c4C/s320/tobey+6.jpg" width="320" /></a></div><div style="text-align: center;">Mark Tobey, Pacific Transition, oil on paper, 1943<br /></div><div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2muB_sgnHmNZJLBXK481IYW9MoCj9YACfbDOewzpVA0GwNuXKjZXjKMBMaCm6ui__71LM0hbgb8WBmfQvy_3VeVp5ridiMPSoIrUmr2DNNd2QDnw7V9zdENr_ugqngyIXwtSR/s800/tobey2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="613" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2muB_sgnHmNZJLBXK481IYW9MoCj9YACfbDOewzpVA0GwNuXKjZXjKMBMaCm6ui__71LM0hbgb8WBmfQvy_3VeVp5ridiMPSoIrUmr2DNNd2QDnw7V9zdENr_ugqngyIXwtSR/s320/tobey2.jpg" width="245" /></a></div><p></p><p style="text-align: center;">Mark Tobey, Advance of History, 1964, gouache on paper<br /></p><p><br /></p><p></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVV2yQetceTrDXbOI0_0sh6bvibhIrlzTZ9emsf_4XxPze67mfjUzuT1ynelDttCJrJ-04FavcA13OX0LIeP3TiV3T3dfW_4No9ml5qww6Nzh6xs-Zf4xCc5Dh7ADGssU6Rl1y/s702/tobey4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="702" data-original-width="490" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVV2yQetceTrDXbOI0_0sh6bvibhIrlzTZ9emsf_4XxPze67mfjUzuT1ynelDttCJrJ-04FavcA13OX0LIeP3TiV3T3dfW_4No9ml5qww6Nzh6xs-Zf4xCc5Dh7ADGssU6Rl1y/s320/tobey4.jpg" width="223" /></a></div><div style="text-align: center;">Mark Tobey, Night Flight, lithograph, 1975<br /></div></div><div style="text-align: left;"><div style="text-align: center;"><br /></div><div style="text-align: center;"> Bruce told me how important Mark Tobey had been to him.</div><div style="text-align: center;"> Obviously there is a resemblance</div><div style="text-align: center;">in how they compulsively cover an empty canvas</div><div style="text-align: center;">like monks filling in the margins of a manuscript.</div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;">I'm sure I've seen Tobey pieces in art museums or Art Expo, <br /></div><div style="text-align: center;">but I've yet to see one that thrilled me enough to put it into my camera.</div><div style="text-align: center;"><br /></div><div style="text-align: center;">A good collection of photos <a href="http://www.all-art.org/art_20th_century/Tobey1.html">can be found here </a>
</div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;">It seems that Tobey was more interested in design variety<br /></div><div style="text-align: center;">than in making something spectacular</div><div style="text-align: center;">while Bruce seems driven by some kind of religious fervor</div><div style="text-align: center;">as if the universe needed him to finish a painting</div><div style="text-align: center;">in order to keep on expanding second by second.<br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLwYoB3AGdypPRtCP2rErRL0Sd6bXVDsAhnQw36yp6A8gEwBJjAeggoQaA8D4aR2gLRa7OVAwNLs4f7OXG-H4pR4PTYkGt40iJaUiZRyzgGjeC8HO0eEg0VulaHktmDtTOhT6UsW7kfArYUv41e5OvPJHq0jFHGMTpHs22__OR5ba-hHQ4_Q/s800/5DD8135D-53F0-462A-AB16-FA400D22D77D.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="672" data-original-width="800" height="269" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLwYoB3AGdypPRtCP2rErRL0Sd6bXVDsAhnQw36yp6A8gEwBJjAeggoQaA8D4aR2gLRa7OVAwNLs4f7OXG-H4pR4PTYkGt40iJaUiZRyzgGjeC8HO0eEg0VulaHktmDtTOhT6UsW7kfArYUv41e5OvPJHq0jFHGMTpHs22__OR5ba-hHQ4_Q/s320/5DD8135D-53F0-462A-AB16-FA400D22D77D.jpeg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">BTW - here’s a recent photo of the great beyond.</div><div class="separator" style="clear: both; text-align: center;">It does kinda resemble Red Guitar.</div><br /><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;">It's no coincidence that some of his marks recall Arabic calligraphy;</div><div style="text-align: center;">he spent some of his youth in Muslim Africa.<br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;">Here are some more views of work in his home and studio</div><div style="text-align: center;">Some of it is unfinished:<br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div><br /></div><div></div><div><br /><br /><br /><br />
<br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy0RVvep7qUK2NPUIEUVJgxJnGSIXv_k5pGhRReqgekMF5pvPEZeZE_lzQJ0tqwWSjvJfHRE1_VXRinDuEs0LmG7uY2y46J01M7z2MTSwjEY4-ai1FlykWuvonR2rQurr9ojmm/s800/B96D1769-D479-436B-A5E3-C6D84483700A.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="760" data-original-width="800" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy0RVvep7qUK2NPUIEUVJgxJnGSIXv_k5pGhRReqgekMF5pvPEZeZE_lzQJ0tqwWSjvJfHRE1_VXRinDuEs0LmG7uY2y46J01M7z2MTSwjEY4-ai1FlykWuvonR2rQurr9ojmm/s320/B96D1769-D479-436B-A5E3-C6D84483700A.jpeg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9XeD58y-ZBUOTKFXorEuKjsAeu2L63PxthT1HdT6CgtAgO-jgmv4CvItcTDAkx1EbgsL8Om_Lf4Ybr0aEcTPaop6uD-qz7gpz3BTwo14gddPVBWGZdvIlNapclQCDMZnAXbU7/s800/88935D16-7B0D-4211-9C6D-B3DCB0D3282F.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="705" data-original-width="800" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9XeD58y-ZBUOTKFXorEuKjsAeu2L63PxthT1HdT6CgtAgO-jgmv4CvItcTDAkx1EbgsL8Om_Lf4Ybr0aEcTPaop6uD-qz7gpz3BTwo14gddPVBWGZdvIlNapclQCDMZnAXbU7/s320/88935D16-7B0D-4211-9C6D-B3DCB0D3282F.jpeg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH23FRRi1oJ903FooAnDB0qFjsMsKbIeye2C8CszLPn4odWwKXUjsUmjsirT22jZ-sUhKEEzcMZkZeZXfFKUTZPZtq2q0k0iWGSE1QbnSPFRnwcZYqzoga4qqqCB11PJ2p_v5_/s800/169FA3C0-BEEE-4110-B5C8-9F3897CE374D.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="766" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH23FRRi1oJ903FooAnDB0qFjsMsKbIeye2C8CszLPn4odWwKXUjsUmjsirT22jZ-sUhKEEzcMZkZeZXfFKUTZPZtq2q0k0iWGSE1QbnSPFRnwcZYqzoga4qqqCB11PJ2p_v5_/s320/169FA3C0-BEEE-4110-B5C8-9F3897CE374D.jpeg" width="306" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhI9JesfK240eVqMZjRaE7dQGPd5iBbE-YnSTeZPRmuLOdNNfpmL4M0_EW5aCykNDFxk5KqAbixketRjy7-sMFTR-p-zv462u58H6-cbfhyphenhyphenxfjxWfFRWi4kWmXf4YoKUuOyf_Mt/s800/38E58974-87A4-4259-A2C8-486A7DD85FCC.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="800" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhI9JesfK240eVqMZjRaE7dQGPd5iBbE-YnSTeZPRmuLOdNNfpmL4M0_EW5aCykNDFxk5KqAbixketRjy7-sMFTR-p-zv462u58H6-cbfhyphenhyphenxfjxWfFRWi4kWmXf4YoKUuOyf_Mt/s320/38E58974-87A4-4259-A2C8-486A7DD85FCC.jpeg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEMgxSzFOSXkbXOgjHl2nVZnc4bYHJ10M4Lj05vFpds3lvqTnWNFmpB95SeDSz6Aku7shxlUYKgLlG27BQrC6y6q0TKQB6NXUlHn2VrQhX_3uth0HmBXqqEDTmKTawD4IbJByg/s800/33EA837E-3517-46E5-BB61-C3F3F9627401.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="748" data-original-width="800" height="299" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEMgxSzFOSXkbXOgjHl2nVZnc4bYHJ10M4Lj05vFpds3lvqTnWNFmpB95SeDSz6Aku7shxlUYKgLlG27BQrC6y6q0TKQB6NXUlHn2VrQhX_3uth0HmBXqqEDTmKTawD4IbJByg/s320/33EA837E-3517-46E5-BB61-C3F3F9627401.jpeg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDZ6aODQ2drnFwx0AtjQJBfamdhVoXIIUkBm5ch10UfaXr8vJW26ZVH45-JiEd8Qr5GPDfvvmCeeLIC2CMWgR-ONM44WmSgnnktzd27Ytw6Pem581iap5gWh8BhkgVgezktrO4/s800/8A6F4EBD-76A9-46A1-9430-929A8F4026FD.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="702" data-original-width="800" height="281" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDZ6aODQ2drnFwx0AtjQJBfamdhVoXIIUkBm5ch10UfaXr8vJW26ZVH45-JiEd8Qr5GPDfvvmCeeLIC2CMWgR-ONM44WmSgnnktzd27Ytw6Pem581iap5gWh8BhkgVgezktrO4/s320/8A6F4EBD-76A9-46A1-9430-929A8F4026FD.jpeg" width="320" /></a></div><br /><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCqaM24DUMHhguoT7Dl7tqYKRHr0Eq3LCdgqSTQ9tZceQEMQTosOpbBi-IGdq7LowiaDEbpX8VD4HlmDl_SoyXR2D_1SDMJ19may9BOKW4AsVDXYyk5L-AmU0uQubHJzzgLpdt/s800/8B0010BC-B146-49DB-843F-0E245144F50A.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="800" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCqaM24DUMHhguoT7Dl7tqYKRHr0Eq3LCdgqSTQ9tZceQEMQTosOpbBi-IGdq7LowiaDEbpX8VD4HlmDl_SoyXR2D_1SDMJ19may9BOKW4AsVDXYyk5L-AmU0uQubHJzzgLpdt/s320/8B0010BC-B146-49DB-843F-0E245144F50A.jpeg" width="320" /></a></div><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6ism2t0a3QMjzIVzzoHGLxpX3tZxh7EXz8iGCdg0k2oLeHC07F9HKwCiofx2EHyUedzDhaSXPbmy5QDwXflUoM_KsJng_X1akILGEQGt61UlL9O5o_8bwfLT46JQWkgl6K7bd/s800/42216062-8018-4904-906C-A9FDC54C2E90.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="666" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6ism2t0a3QMjzIVzzoHGLxpX3tZxh7EXz8iGCdg0k2oLeHC07F9HKwCiofx2EHyUedzDhaSXPbmy5QDwXflUoM_KsJng_X1akILGEQGt61UlL9O5o_8bwfLT46JQWkgl6K7bd/s320/42216062-8018-4904-906C-A9FDC54C2E90.jpeg" width="266" /></a></div></div><div></div><div></div><div style="text-align: center;">As you can see, there is some variety in Bruce's paintings</div><div style="text-align: center;">and that variety is even greater if we include his older work.</div><div style="text-align: center;">I doubt he knows what a painting will eventually look like when he starts it.</div><div style="text-align: center;"><br /></div><div style="text-align: center;"></div><div style="text-align: center;">He's an explorer</div><div style="text-align: center;">and often explorers discover lands</div><div style="text-align: center;">that few others would like to visit.</div><div style="text-align: center;">That may be why he has had some difficulty</div><div style="text-align: center;">finding representation in commercial galleries.<br /></div><div style="text-align: center;"> </div><br /><div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9cvLOviSuWTFnjr8SrAMvmyhJsIzn-MYEgnWoiaD0nd84leZaza5myorCjRIBWGaXw2rchSDh96ZYgAfF42xGzxio4cBsVpod-07Fx01hsUHKkgobEBKHNvcKLmXS6CzouT0Q/s800/A5F991DF-ECA2-4682-A8A9-A37A6B51F8BD.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="682" data-original-width="800" height="273" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9cvLOviSuWTFnjr8SrAMvmyhJsIzn-MYEgnWoiaD0nd84leZaza5myorCjRIBWGaXw2rchSDh96ZYgAfF42xGzxio4cBsVpod-07Fx01hsUHKkgobEBKHNvcKLmXS6CzouT0Q/s320/A5F991DF-ECA2-4682-A8A9-A37A6B51F8BD.jpeg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div style="text-align: center;">The neck of a guitar enters the lower right corner of the above photograph, </div></div><div style="text-align: center;">reminding us that Bruce is also a musician.<br /></div><div style="text-align: center;"> </div><div style="text-align: center;">Art history tells us that melomania was common among leading French painters of the 19th century as the music of Beethoven, Wagner, and earlier classical masters could be heard in public concert halls rather than just courtly salons. What a thrill it must have been to hear this music live back before recordings were available.</div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4SDAS77xBXHa_4s3ObKKDz1g_xVmDynl1DOfj2n5yypsnLNikm04fXnNkm6n7rnNYYjszOLh9JIrES1woDaZ_fVTUNc7rVN_55j5jBU9Za_HzKv1EUH7Xz11PK0rICNlgVDA3/s800/other+shah+mosque.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="766" data-original-width="800" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4SDAS77xBXHa_4s3ObKKDz1g_xVmDynl1DOfj2n5yypsnLNikm04fXnNkm6n7rnNYYjszOLh9JIrES1woDaZ_fVTUNc7rVN_55j5jBU9Za_HzKv1EUH7Xz11PK0rICNlgVDA3/s320/other+shah+mosque.JPG" width="320" /></a></div></div><div><br /><div class="separator" style="clear: both; text-align: center;">
Shah Mosque, Isfahan, 17th Century<br /><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP2GkUAwk9XiU7otrL1fgJWKXjVbmlWkgze8FPTS4JgG6vKbQoMbtDlMNS3KcwrtJw0Hk3t99YbRZC9A0fNmvtGFpZwZorN5o_jNXthzobfRAVLUb0JeMcuixmrQnfdKNiGMtl/s800/other-delaney54.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="659" data-original-width="800" height="264" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP2GkUAwk9XiU7otrL1fgJWKXjVbmlWkgze8FPTS4JgG6vKbQoMbtDlMNS3KcwrtJw0Hk3t99YbRZC9A0fNmvtGFpZwZorN5o_jNXthzobfRAVLUb0JeMcuixmrQnfdKNiGMtl/s320/other-delaney54.jpg" width="320" /></a></div><div style="text-align: center;">Beauford Delaney, 1954, oil on raincoat<br /></div></div><div><div style="text-align: center;"><br /></div><div style="text-align: center;">Just as with Thorn and Tobey,</div><div style="text-align: center;">individual forms are overwhelmed by the space between them </div><div style="text-align: center;">in the two examples shown above.</div><div style="text-align: center;">There is no figure and ground,</div><div style="text-align: center;">just one all encompassing pattern.</div><div style="text-align: center;"><br /></div><div style="text-align: center;">In the Persian ceiling, that pattern feels as precise</div><div style="text-align: center;">and intellectually challenging as a differential equation.</div><div style="text-align: center;">In the Delaney piece, it feels like an ecstatic,</div><div style="text-align: center;">though only momentary, burst of joy.</div><div style="text-align: center;">In the Tobey, it feels like a specimen</div><div style="text-align: center;">in a collection of biological material, </div><div style="text-align: center;">like butterfly wings or pressed leaves.</div><div style="text-align: center;"><br /></div><div style="text-align: center;">In Thorn's "Red Guitar", it feels like the evolving universe:</div><div style="text-align: center;">ever emerging and ever dying,</div><div style="text-align: center;">an eternal interaction between disruption and convergence.</div><div style="text-align: center;"> </div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><br /></div></div>
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chris millerhttp://www.blogger.com/profile/09575033275184403015noreply@blogger.com0tag:blogger.com,1999:blog-19047760.post-68761292803291176682020-04-24T14:19:00.000-05:002020-07-08T14:22:23.830-05:00El Greco - Ambition and Defiance<br />
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El Greco, "Assumption of the Virgin", Art Institute of Chicago</div>
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If Modern Art is a religion, the Art Institute of Chicago is one of its cathedrals and El Greco is its earliest prophet. Not that he or anyone else recognized him as such for about three hundred years — but that, in retrospect, he was the earliest post-Renaissance painter to apparently set an angular formal expression above the demands of mimetic naturalism. And he was fierce - which early Modernists liked so much more than soft sentimentality. And he intermittently broke conventions of portraiture, figuration, and pictorial space.<br />
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With it’s commanding “Assumption of the Virgin” (shown above), in the collection for about a hundred years, it’s about time that The Art Institute mounted a career spanning El Greco exhibition - and I have <a href="https://art.newcity.com/2020/04/07/the-long-awaited-el-greco-exhibition-at-the-art-institute-of-chicago-lacks-spirit/">written about this show in New City</a><br />
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You might notice that the address of the New City link includes the following judgment: "the-long-awaited-el-greco-exhibition-at-the-art-institute-of-chicago-<span style="color: red;">lacks-spirit</span>". That was the title originally given to my review by the editor - based on my negative critique of the many devotional pieces in this show executed by the artist's assistants: "they have the flavor of El Greco’s eccentricity without the power of his spirit."<br />
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As one visitor to his studio noted, the artist kept a tightly locked room full of original versions of various themes. Presumably, customers could then select a theme and have a copy made in whatever size they chose - as one might for a suit bespoken from the tailor. Good for business -- not necessarily good for art - even if these devotionals were above what was locally available from other artists at that time.<br />
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I didn't mention it in the review, but I also have a problem with many of the pieces that do have the artist's fiery spirit - but fail to conflate it with the weight and solid volume that El Greco was borrowing from the leading Roman artists of the time like Michelangelo. The results often feel clumsy and painful to me. In the large altarpieces like the "Assumption", that does not appear to be a problem. It's those ten or so altarpieces that are the amazing legacy of this artist. The only way to experience most of them is to travel to Toledo.<br />
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In this voluminous post</div>
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-- made ever longer by the isolation of Covid 19 -</div>
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I offer a painting-by-painting discussion </div>
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of the exhibition at the Art Institute</div>
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followed by</div>
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a paragraph by paragraph examination</div>
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of Roger Fry's essay on El Greco</div>
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followed by </div>
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Elie Faure's discussion of the artist in Chapter Four</div>
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of his History of Art : the Spirit of Forms</div>
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Below are some more thoughts about some of my favorite pieces in the show,</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXNnO_4szCeoyufVXEUGVdhfrBTCTq0roaNoeudeP5jLQljaBm0cWF3Uio_xR0np9evijpy7PG0JY2VNhbybQW97lGp0tjvHKo3q_saa7CftCvnLQuWuldaNEF9t5kja1uh6Sc/s1600/5D40E550-12FD-4B52-834C-2E9DD8D9A91F.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="701" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXNnO_4szCeoyufVXEUGVdhfrBTCTq0roaNoeudeP5jLQljaBm0cWF3Uio_xR0np9evijpy7PG0JY2VNhbybQW97lGp0tjvHKo3q_saa7CftCvnLQuWuldaNEF9t5kja1uh6Sc/s320/5D40E550-12FD-4B52-834C-2E9DD8D9A91F.jpeg" width="280" /></a></div>
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View of Toledo</div>
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Landscapes offer relaxation - cityscapes offer stimulation - </div>
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this offers both, and may be the first portrait of a city ever done.</div>
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I <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifr4kwOK6ciqMrp9qkrBQJk_f7VTxLccOFICCadMR8l1i-jc__EQud116sFNFu6r92hWLxUQ6u5-EjHEn5Bsm0Mj9BqXmI6Lp-rHFDQMK_OSMh9sc2X4KBrDTrRxTMWN1gLw0N/s1600/A300C4EC-B8F8-443F-AE66-13F0A77D7B05.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="606" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifr4kwOK6ciqMrp9qkrBQJk_f7VTxLccOFICCadMR8l1i-jc__EQud116sFNFu6r92hWLxUQ6u5-EjHEn5Bsm0Mj9BqXmI6Lp-rHFDQMK_OSMh9sc2X4KBrDTrRxTMWN1gLw0N/s320/A300C4EC-B8F8-443F-AE66-13F0A77D7B05.jpeg" width="242" /></a></div>
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Portrait of Frey Hortensio Felix Paravicino</div>
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And this may be the first psychological portrait ever done -</div>
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presenting the man as the artist experienced him face to face,</div>
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rather than as he would like to be presented to the world.</div>
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I just learned that John Singer Sargent</div>
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advised the Boston Museum of Fine Arts to acquire it.</div>
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It’s not the kind of portrait that either artist usually painted. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5WTM9QDVlxJCZwh8OlyIE3S09LODY4-O-5lDnONSuJiVaE-Lb17LbNKoec0ut4VqxZyqNerV0qXDNenhOnNvapeO-D_umxZBzLpDXC2G5OSYMbZtFbG7qzlk0pfhoxPz376Hz/s1600/BAD24D3A-6EBF-43BF-9140-7EE945511154.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="665" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5WTM9QDVlxJCZwh8OlyIE3S09LODY4-O-5lDnONSuJiVaE-Lb17LbNKoec0ut4VqxZyqNerV0qXDNenhOnNvapeO-D_umxZBzLpDXC2G5OSYMbZtFbG7qzlk0pfhoxPz376Hz/s320/BAD24D3A-6EBF-43BF-9140-7EE945511154.jpeg" width="266" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeIdDATC0rokhKpftDOcvjpWpkqvtFH2mZmVfz2_klkwDsA2SyHwUNCDRiNufyrQMVgtBBJt-MrK3XOgHAI01TGF_KjxWX2i9p35VR7ZvFtwl8acxKIX8P_Erw3PY51DV_XNB_/s1600/1F6FF5E5-A00F-4360-8758-87A06D8387F2.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="625" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeIdDATC0rokhKpftDOcvjpWpkqvtFH2mZmVfz2_klkwDsA2SyHwUNCDRiNufyrQMVgtBBJt-MrK3XOgHAI01TGF_KjxWX2i9p35VR7ZvFtwl8acxKIX8P_Erw3PY51DV_XNB_/s320/1F6FF5E5-A00F-4360-8758-87A06D8387F2.jpeg" width="250" /></a></div>
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Sargent, portrait of Joseph Jefferson</div>
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(on display in the A.I.C. Sargent exhibition two years ago)</div>
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Most Sargent portraits portray well born women as elegant ladyships - but here he painted an actor whose puckish personality must have captivated him - just as El Greco must have enjoyed the company of the neurotic poet-monk-courtier who admired his paintings.<br />
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Many of the other portraits in this show, especially of saints, seem too perfunctory. I wish the show had included the St. Jerome from the Frick.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_3nlwd8rhp2il78ckUOM9duPdYioAUNuPLbMZue48I6MInFvI8gB-zGMylYFyVLimD0v6Dt_B4CC-74IbHy2MBbCWHxjLAdecaPetzQ1VGduXbEJGC6ksnGGXkoETJxd17dtl/s1600/D4A3F8EE-F0B7-43D1-84BA-446BEF6311AF.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="711" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_3nlwd8rhp2il78ckUOM9duPdYioAUNuPLbMZue48I6MInFvI8gB-zGMylYFyVLimD0v6Dt_B4CC-74IbHy2MBbCWHxjLAdecaPetzQ1VGduXbEJGC6ksnGGXkoETJxd17dtl/s320/D4A3F8EE-F0B7-43D1-84BA-446BEF6311AF.jpeg" width="284" /></a></div>
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Vision of St. John</div>
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I love this crazy thing - regardless of the subject matter attributed to it.</div>
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I would call it "St. Augustine" - equally thrilled and dismayed by carnality.</div>
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The Holy Face</div>
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The Trinity</div>
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These are some other pieces from the high altarpiece</div>
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made for the Monastery of Santo Domingo Antiguo.</div>
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The Trinity was not designed to be seen at eye level.</div>
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It needs to be hung way up above the Assumption -</div>
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and photos of the reconstructed altarpiece</div>
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reveal that it would look very good there.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyCagCAz-OeGB4QSW1S3y29z3Ip_8TVMBrOFKlPmBt8abF0x4-uVHmwWsuZGPp8lLK7M-SLy_JHLrOOmlhUlyocUJD6PHIp8FZUZMxDfypYazVKuGwX1Q9CYR3PtbHob7M4-ik/s1600/adoration.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="449" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyCagCAz-OeGB4QSW1S3y29z3Ip_8TVMBrOFKlPmBt8abF0x4-uVHmwWsuZGPp8lLK7M-SLy_JHLrOOmlhUlyocUJD6PHIp8FZUZMxDfypYazVKuGwX1Q9CYR3PtbHob7M4-ik/s320/adoration.jpg" width="179" /></a></div>
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Adoration of the Shepherds, Prado</div>
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As a narrative, it's way too goofy for me.</div>
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The artist and his floating son seem to be the center of attention.</div>
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As a tiny reproduction, it's a highly charged abstract design.</div>
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As a ten-foot painting that dominates a room,</div>
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it's insufferable.</div>
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********* and here's the rest of the show*************</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiJkZbgCX00VDneiIxMjhIDdRHoH60Lqtzocb-3l7qCPGogyo0GDmqPoE6OgkcMpre3imdjxUADtXrza7rUlHzqvoyGR8s1qJ0PjtY9xtMXVYLrxQiyuBuIiEG6OJk4-QnUVeW/s1600/B69C1964-9FC1-4E84-A4A2-D8AEBD502CFB.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="631" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiJkZbgCX00VDneiIxMjhIDdRHoH60Lqtzocb-3l7qCPGogyo0GDmqPoE6OgkcMpre3imdjxUADtXrza7rUlHzqvoyGR8s1qJ0PjtY9xtMXVYLrxQiyuBuIiEG6OJk4-QnUVeW/s320/B69C1964-9FC1-4E84-A4A2-D8AEBD502CFB.jpeg" width="252" /></a></div>
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Adoration of the Shepherds, 1567</div>
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Overall, a bit murky,</div>
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(As Holland Cotter put it) </div>
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But as an abstract design,</div>
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it does feel dynamic - especially</div>
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in the celestial rondel at the top</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWEB8XfUdg4NaByt0RqUoTycyFUOnKK9e9cXkGwOm-g8q1_NLnzmmFBN0_GPma21d3al6nE1jciShyphenhyphenUc9BeQg_6VPl5sl9Ua71YKCE4KThl28RvbaJy2UZqzlcFh6mW9cs56kN/s1600/B6FE68DC-4D17-4670-A4A0-3CA227CD0533.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="629" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWEB8XfUdg4NaByt0RqUoTycyFUOnKK9e9cXkGwOm-g8q1_NLnzmmFBN0_GPma21d3al6nE1jciShyphenhyphenUc9BeQg_6VPl5sl9Ua71YKCE4KThl28RvbaJy2UZqzlcFh6mW9cs56kN/s320/B6FE68DC-4D17-4670-A4A0-3CA227CD0533.jpeg" width="251" /></a></div>
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Variation done on copper</div>
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dated ten years later.</div>
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It’s hard for me to believe that either of these was done by the same painter </div>
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who did the magnificent Assumption in Chicago.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdgDJvBUkEwFXp67z-pPbwjVbCAyb1nBn8h2qmErNFjzcBLiafEjBNYKhlepwEZkjw6GgjyPdpvTjVBIlVL3AjQoppywbtXJIebr30zpjYHHxMNNJtEkfUrwe6Fx3BikD6gaZr/s1600/9ED53F87-7396-4FAF-A623-C2B2EDAF9281.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="370" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdgDJvBUkEwFXp67z-pPbwjVbCAyb1nBn8h2qmErNFjzcBLiafEjBNYKhlepwEZkjw6GgjyPdpvTjVBIlVL3AjQoppywbtXJIebr30zpjYHHxMNNJtEkfUrwe6Fx3BikD6gaZr/s320/9ED53F87-7396-4FAF-A623-C2B2EDAF9281.jpeg" width="236" /></a></div>
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Here is a variation</div>
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not included in this show </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSPrCMST-aNLHJ165bQ3MZjxqL6RF1HN6rjqaEp4fc0Z4JrIL8UpvNbfA5XYRKavLLkH44S0gqtoIPTEDYDyo-18RB3WefBCgz7BqlkMET2Oy7liGsXYk7AIPMgC8UqkxoGdvL/s1600/5DE78D9E-C166-4370-933A-2A6D364FA64B.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="647" data-original-width="800" height="258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSPrCMST-aNLHJ165bQ3MZjxqL6RF1HN6rjqaEp4fc0Z4JrIL8UpvNbfA5XYRKavLLkH44S0gqtoIPTEDYDyo-18RB3WefBCgz7BqlkMET2Oy7liGsXYk7AIPMgC8UqkxoGdvL/s320/5DE78D9E-C166-4370-933A-2A6D364FA64B.jpeg" width="320" /></a></div>
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As gallery signage suggests,</div>
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El Greco used this woodcut taken from Titian as a source</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLiYGCuLs1pTX1RtVEmDXjRTHmX3Xqtk84r83Gqsqo5lLD8ME9ANLMQ_dOAsvPSqkrmWWjHDW5xrnmWo1aiS_fWrZeXUI29GoVho7OfkXDdHngLhtMa2aMB2JeUPQw_pfNIZB8/s1600/555B2DF7-1569-48D0-A734-A18C5D96760D.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="631" data-original-width="800" height="252" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLiYGCuLs1pTX1RtVEmDXjRTHmX3Xqtk84r83Gqsqo5lLD8ME9ANLMQ_dOAsvPSqkrmWWjHDW5xrnmWo1aiS_fWrZeXUI29GoVho7OfkXDdHngLhtMa2aMB2JeUPQw_pfNIZB8/s320/555B2DF7-1569-48D0-A734-A18C5D96760D.jpeg" width="320" /></a></div>
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St Francis receives the Stigmata, 1567-70</div>
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Gallery signage suggests that the artist was struggling </div>
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with perspective in the Saint's left arm -</div>
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perhaps because the drapery suggests that</div>
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the arm is stretched towards the viewer</div>
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while its length suggests that it is parallel to the picture plane.</div>
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I have more problem with his brother's left arm in the lower left.</div>
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The figure handles its space so awkwardly</div>
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I could barely recognize it.</div>
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All of which is irrelevant to its witness to the miraculous.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbKrCwwErj5EmbYdzcFgPChOLk0y9gm5uXd8t0fa-gv9nPe8V4a9wQgKfi-qXWlXszu7ym6uokx8xMzS5-Sj0vhSVqOWC_Tkjsuf_yfZyBAdswUJHssNZIapddj3Yq0FnmnC2-/s1600/FC70793D-9810-43BD-AA61-5D713EB0F4B0.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="569" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbKrCwwErj5EmbYdzcFgPChOLk0y9gm5uXd8t0fa-gv9nPe8V4a9wQgKfi-qXWlXszu7ym6uokx8xMzS5-Sj0vhSVqOWC_Tkjsuf_yfZyBAdswUJHssNZIapddj3Yq0FnmnC2-/s320/FC70793D-9810-43BD-AA61-5D713EB0F4B0.jpeg" width="227" /></a></div>
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Here’s a version that I like much more .</div>
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It was not included in this exhibit however.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLhZp81fBVjy5PUFpqGeF5V27o1LPQpFWckdmAMf0Po1-MsOph7wOn8pt4b0Ygqf9sP1cwCEah85HDl3lEPs5gwbRwuiKmAsUUelJl9ZiWtv0jgrmph6jdTE5JxFaZmNRvRLjp/s1600/8DFEA504-221B-4854-9CA3-E7819FCA9220.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="569" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLhZp81fBVjy5PUFpqGeF5V27o1LPQpFWckdmAMf0Po1-MsOph7wOn8pt4b0Ygqf9sP1cwCEah85HDl3lEPs5gwbRwuiKmAsUUelJl9ZiWtv0jgrmph6jdTE5JxFaZmNRvRLjp/s320/8DFEA504-221B-4854-9CA3-E7819FCA9220.jpeg" width="227" /></a></div>
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Here's a variation from about the same time</div>
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that I enjoy much more.</div>
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(not included in this exhibit, however)</div>
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Quite distant from the numbing sweetness</div>
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that would become so prevalent</div>
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in Spanish religious art.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHmINWQsN-Q8TlmBLZ-w6Bbk12m_WZJkEtrdDE4VVxfCojb4RtPwFyHgMqhA9gg7xJP_DVFZeuKDqatgFdS5sLM4FT4rk16Kta8ETV_OP653hDubJh_vga-Ll2AtDu5Crquhry/s1600/entombment.JPEG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="644" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHmINWQsN-Q8TlmBLZ-w6Bbk12m_WZJkEtrdDE4VVxfCojb4RtPwFyHgMqhA9gg7xJP_DVFZeuKDqatgFdS5sLM4FT4rk16Kta8ETV_OP653hDubJh_vga-Ll2AtDu5Crquhry/s320/entombment.JPEG" width="257" /></a></div>
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The Entombment (1568-1570)</div>
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I like this one more than the previous,</div>
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especially the lively details below, </div>
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but still.....</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg33i2wdvjHUe9KMb20LUDE4ktDwwtvRAtRntDtUaFXNyl2GlpctUaIFuRHmRAN0227Su3UQ5t1b2Q0DLcyDnrvllrfo58ZpBp9oIxvYppA9LVlZtCVDo5JI2gs2wPjesUiEdxZ/s1600/entombment+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="765" data-original-width="800" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg33i2wdvjHUe9KMb20LUDE4ktDwwtvRAtRntDtUaFXNyl2GlpctUaIFuRHmRAN0227Su3UQ5t1b2Q0DLcyDnrvllrfo58ZpBp9oIxvYppA9LVlZtCVDo5JI2gs2wPjesUiEdxZ/s320/entombment+2.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqvj7CDUrAWStXf1ig9HpJoB0bK7vnvNBFVIgp80pF5XGL2lFFZrfq2yE1IlsK9Db3qrUoOa63hWoO_F2oqqAYqiOCgIaGj0Bp87Sl0LdfTpF3FJelvxH0O9knyvZ131D8WPTc/s1600/christ+carrying+cross.JPEG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="694" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqvj7CDUrAWStXf1ig9HpJoB0bK7vnvNBFVIgp80pF5XGL2lFFZrfq2yE1IlsK9Db3qrUoOa63hWoO_F2oqqAYqiOCgIaGj0Bp87Sl0LdfTpF3FJelvxH0O9knyvZ131D8WPTc/s320/christ+carrying+cross.JPEG" width="277" /></a></div>
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Christ Carrying the Cross, 1570-71</div>
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There are other El Greco variations on this theme</div>
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that are less tame.</div>
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This belongs in a rectory, not an art museum.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuY2oByJi9r7NNwnLp0K0ovuuStaageebrR0ueZ9GqGJRivuE3SEJ1AvPsb9qVHqW0CwixUc4IBdu2aXvK84ChHUdo5hfFPOuqD6jtW5l0T8-2z0lPuFGn2XZGhYa44j56ovQ4/s1600/39591F4D-F4A8-42D5-8686-61E917971E2F.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="658" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuY2oByJi9r7NNwnLp0K0ovuuStaageebrR0ueZ9GqGJRivuE3SEJ1AvPsb9qVHqW0CwixUc4IBdu2aXvK84ChHUdo5hfFPOuqD6jtW5l0T8-2z0lPuFGn2XZGhYa44j56ovQ4/s320/39591F4D-F4A8-42D5-8686-61E917971E2F.jpeg" width="263" /></a></div>
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Annunciation, 1576</div>
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The gallery signage suggests that this piece combines the "lively, fluid brushwork" of the Venetians with the "bright color palette and weightiness" of Michelangelo and other Romans.<br />
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None of which impresses me in this piece -- especially the "weightiness" , or lack of it, in the figures.<br />
The "Annunciation" at the Art Institute proves that El Greco was capable of giving his figures inner dynamics and solidity -- but in this painting he apparently did not feel the need to do so.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwK2Ra6O014uCuC36Sj2PIc2j9SYGtaQs_adIO3Q0BYTcPau7NQdmsM3cQ6zdNhZDaX9VVWoN7qg66VX0TrJ_He4J0eg0ODeSIiB984r1LyWz6jHPjnhv23VIFIkVe-mkdHfMC/s1600/EA7A4FDD-D574-4A3C-92A0-8F76A8C0BAEF.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="456" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwK2Ra6O014uCuC36Sj2PIc2j9SYGtaQs_adIO3Q0BYTcPau7NQdmsM3cQ6zdNhZDaX9VVWoN7qg66VX0TrJ_He4J0eg0ODeSIiB984r1LyWz6jHPjnhv23VIFIkVe-mkdHfMC/s320/EA7A4FDD-D574-4A3C-92A0-8F76A8C0BAEF.jpeg" width="182" /></a></div>
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Annunciation, 1597-1600</div>
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Here's a later, and much larger, version of the same theme.</div>
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Wow! It's full El Greco Wacko.</div>
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It doesn't look like Venetian or Roman styles of painting</div>
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are involved any more.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKhufjfd6ntEhY8ZnRbUzTHGTJRyzWBPIWOLrlffJIM_NnwfmG57srbAYFTSjElVVp_WN3z52FhdwgNk57Cr2Ap9aF3hTPTCu-BCuxMrh1WE1NXdBRmdL6AUOsaOZfS-4KhTWk/s1600/3535DFF1-9B39-4F00-8179-BA60CA89BDA2.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="550" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKhufjfd6ntEhY8ZnRbUzTHGTJRyzWBPIWOLrlffJIM_NnwfmG57srbAYFTSjElVVp_WN3z52FhdwgNk57Cr2Ap9aF3hTPTCu-BCuxMrh1WE1NXdBRmdL6AUOsaOZfS-4KhTWk/s320/3535DFF1-9B39-4F00-8179-BA60CA89BDA2.jpeg" width="220" /></a></div>
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Lamentation, 1570’s</div>
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Gallery signage tells us that</div>
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‘To create the Lamentation El Greco turned to a famous drawing by Michelangelo....in his dramatic interpretation the artist emphasized the physical weight and agitation of the figures and heightened this effect with a stormy sky”</div>
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There certainly are some similarities to the drawing shown below.</div>
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And there’s plenty of agitation.</div>
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But I would also say that it’s a clumsy, depressing mess.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlNy5wfTT2_yso8JNdcE-9jIQtQrluFCn_3HZHaO8SGAPTLZ6yUbjgQUvjC5W6lx_ObMb-25B45Za6xUnlnQ6YJalNqHL1_TAKHRarqM3oPj4ITDsKXckvXj9kAdnI_HSCSmTD/s1600/ADE6F5E9-9EB0-4B2F-8E74-E99864085DFB.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="524" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlNy5wfTT2_yso8JNdcE-9jIQtQrluFCn_3HZHaO8SGAPTLZ6yUbjgQUvjC5W6lx_ObMb-25B45Za6xUnlnQ6YJalNqHL1_TAKHRarqM3oPj4ITDsKXckvXj9kAdnI_HSCSmTD/s320/ADE6F5E9-9EB0-4B2F-8E74-E99864085DFB.jpeg" width="209" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJv_PnotvKX2R8dUGsqJuUQ7vlDfsz_rTlzccRDJngd7bPos9wf8opNOHyIEtN7BzmxXJoh6Y8upAjIF0RIaSFXXUeQdU4tNyLq-mldVXJzXTbvRY0ka-b2jC1uZCR7_BdLkjw/s1600/CA326A02-12F0-42CB-B96A-F3BBCAD268A4.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="800" data-original-width="647" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJv_PnotvKX2R8dUGsqJuUQ7vlDfsz_rTlzccRDJngd7bPos9wf8opNOHyIEtN7BzmxXJoh6Y8upAjIF0RIaSFXXUeQdU4tNyLq-mldVXJzXTbvRY0ka-b2jC1uZCR7_BdLkjw/s320/CA326A02-12F0-42CB-B96A-F3BBCAD268A4.jpeg" width="258" /></a></div>
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The Michelangelo drawing was presented to his fellow poet, Vittoria Colonna.</div>
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Notably, the man appears to be as old, or even older, than the woman.</div>
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And he appears more exhausted than dead,</div>
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while the woman seems more concerned than lamenting.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdmMdjM6LICbuJol9NLlOQjY1yjr2K65IMb-px5fJuKWxwt2FqtPkbyeBYLxu_eiEFjL734rl-CaY7-EhgowNPnFyk_Q39Bwk4arkUuvNvFGjN3kfWw2fkMceXjYZxYmioL29f/s1600/2AF6A609-0F35-49B3-B72D-8E6BB0C8BF11.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="740" data-original-width="800" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdmMdjM6LICbuJol9NLlOQjY1yjr2K65IMb-px5fJuKWxwt2FqtPkbyeBYLxu_eiEFjL734rl-CaY7-EhgowNPnFyk_Q39Bwk4arkUuvNvFGjN3kfWw2fkMceXjYZxYmioL29f/s320/2AF6A609-0F35-49B3-B72D-8E6BB0C8BF11.jpeg" width="320" /></a></div>
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Giotto</div>
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Here's my favorite version - feeling more like a lively performance </div>
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of professional actors on an eternal stage </div>
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than real people facing a calamity.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil7LxIjq7Qj0tgDF9EObV_trM5YTCvCgyzhN9v6tif9U-uIuW7XQD9q71LV-4Vrd_jHMeqXhzyRzZZvADl9lBMttfrBCJvnxjOmev1m3JoIemgQGJ3oJTKXeThs3syhZi5uToi/s1600/9CDC5F42-B8D7-47F7-9501-494D6606B4AD.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="598" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil7LxIjq7Qj0tgDF9EObV_trM5YTCvCgyzhN9v6tif9U-uIuW7XQD9q71LV-4Vrd_jHMeqXhzyRzZZvADl9lBMttfrBCJvnxjOmev1m3JoIemgQGJ3oJTKXeThs3syhZi5uToi/s320/9CDC5F42-B8D7-47F7-9501-494D6606B4AD.jpeg" width="239" /></a></div>
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Giovanni Bellini</div>
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The point of this one seems to be the beauty of Christ forever in the world </div>
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rather than any sorrow for His death. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfAMXbaCt9sHit4sWQxh4mdNLNDcaD4o0fJvlNXn8zhRGobFBe5o-83bKnIBoQChvh4QhPuRBnvxXy7p7j2xGQObLWby9TrSRErmGn20vkRhYpO0E8zEuHKjgcJjXtjYXDJqwT/s1600/885D8A70-9D7A-477E-813A-1435DF098118.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="591" data-original-width="800" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfAMXbaCt9sHit4sWQxh4mdNLNDcaD4o0fJvlNXn8zhRGobFBe5o-83bKnIBoQChvh4QhPuRBnvxXy7p7j2xGQObLWby9TrSRErmGn20vkRhYpO0E8zEuHKjgcJjXtjYXDJqwT/s320/885D8A70-9D7A-477E-813A-1435DF098118.jpeg" width="320" /></a></div>
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12th Century, Macedonia</div>
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This one feels more emotional, like El Greco, </div>
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but that emotion is more one of piety than despair.</div>
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And this is a stronger, more beautiful painting.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhp6cIJxVtSdTi7x8YS8wdqqFl7Rr_ykRovGhCHZhAIOyoY4QW2otE6MZEtFvSjk5kmZOuh0Qnh-GyYojQArXL5HLD5rrp0MkYgGlm21WRNdYMqjmkakgGmB5D4M_S_QhZf8sEQ/s1600/32C9A314-46D3-4DE5-BB38-CEE6F1CE127E.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="482" data-original-width="696" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhp6cIJxVtSdTi7x8YS8wdqqFl7Rr_ykRovGhCHZhAIOyoY4QW2otE6MZEtFvSjk5kmZOuh0Qnh-GyYojQArXL5HLD5rrp0MkYgGlm21WRNdYMqjmkakgGmB5D4M_S_QhZf8sEQ/s320/32C9A314-46D3-4DE5-BB38-CEE6F1CE127E.jpeg" width="320" /></a></div>
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Theophanes of Crete, early 16th Century</div>
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Wow! this is a near-contemporary of El Greco</div>
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and perhaps exemplifies the kind of painting that El Greco was trained to do. </div>
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Without the need to encorporate the more three dimensional figuration of Michelangelo to Tintoretto, I di like it better than any of El Greco's small religious pieces.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZf2hqPj7cgrMONDLe2pA6JeXiTKQgYEEK-4iD-R2yFvjWDWN8Rdp2dARekevlwtlrd6k3DQ53EsYnR5Fy-gTjo-FOzuUm1I2UMiILL1qxgHMhJGLnISQeRW101bpiiuKk7iK6/s1600/EB7F7DA5-0A42-494F-A23F-5F3D8129E508.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="580" data-original-width="800" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZf2hqPj7cgrMONDLe2pA6JeXiTKQgYEEK-4iD-R2yFvjWDWN8Rdp2dARekevlwtlrd6k3DQ53EsYnR5Fy-gTjo-FOzuUm1I2UMiILL1qxgHMhJGLnISQeRW101bpiiuKk7iK6/s320/EB7F7DA5-0A42-494F-A23F-5F3D8129E508.jpeg" width="320" /></a></div>
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Petrus Christus</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5AhXZHo1Rrcwt6uXuKjTpj3h0h-qmz3_FgXbu6Dw4BoqQ7snLPF1LwHcw4uRh1uN3sENdYIZ6rH6LuueWFOKgvEDaSDTUgWG0qlUmgDb4OKDY9QVtANZrY0t7Ms3XwSGC6j-I/s1600/43F7B9CF-0964-44A4-8713-1DF039DC9D5A.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="770" data-original-width="791" height="311" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5AhXZHo1Rrcwt6uXuKjTpj3h0h-qmz3_FgXbu6Dw4BoqQ7snLPF1LwHcw4uRh1uN3sENdYIZ6rH6LuueWFOKgvEDaSDTUgWG0qlUmgDb4OKDY9QVtANZrY0t7Ms3XwSGC6j-I/s320/43F7B9CF-0964-44A4-8713-1DF039DC9D5A.jpeg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqBCY0gEPYuNfJsutG3M03NLru3LSP4K4E-yM78mmwLM14l4G4zxBnKsD6LR2qUHLScBY34i5PT8LilPWCvdadIhjpdYdtHRhCLL84HEa8A8yePI9ZY8XM0Ucqg_0WOC5NSyty/s1600/CA9C6553-0DBF-4E9C-B849-9270FF81F362.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="547" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqBCY0gEPYuNfJsutG3M03NLru3LSP4K4E-yM78mmwLM14l4G4zxBnKsD6LR2qUHLScBY34i5PT8LilPWCvdadIhjpdYdtHRhCLL84HEa8A8yePI9ZY8XM0Ucqg_0WOC5NSyty/s320/CA9C6553-0DBF-4E9C-B849-9270FF81F362.jpeg" width="218" /></a></div>
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Entombment, 1572</div>
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This piece was recently at auction,</div>
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hence the luscious detail image.</div>
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I don’t remember noticing it at the exhibit-</div>
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I’ll have to look for it if the show ever reopens.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjC0JJxqZFlfpqsjcxT5CNoLNLEtK1szWcF8luTwebu4WG8k2l6CLW2ked6MYagPxFMxKYY2mQhU17RB7W7iPimNBjWmAU1cEv7S6F_dbScyRf0jBK3Erl2EjcWa6x5uZDDM-DT/s1600/809E2A89-F444-4719-9A0A-AF1581E7F9F0.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="677" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjC0JJxqZFlfpqsjcxT5CNoLNLEtK1szWcF8luTwebu4WG8k2l6CLW2ked6MYagPxFMxKYY2mQhU17RB7W7iPimNBjWmAU1cEv7S6F_dbScyRf0jBK3Erl2EjcWa6x5uZDDM-DT/s320/809E2A89-F444-4719-9A0A-AF1581E7F9F0.jpeg" width="270" /></a></div>
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El Soplon, about 1570</div>
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This is not the first candle-lit scene in Italian painting,</div>
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but it does seem to be among the first </div>
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that has no subject other than its unusual lighting.</div>
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(Leandro Bassano's "Penelope" from about the same time</div>
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would be another, though duller, example)</div>
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Ten years later El Greco included the candle lit boy in</div>
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the following piece:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi2I99ofnBLgxI4aANHqWd8VeEFu1UGdGC8sKvk0tur3jAsAQtE_CGMHM9Tv2QenUuWnNee4y0PomF9OzqbZyv9onPTG1oa3fCau7-_Ov0i0VZNO7FZhljd1MuydnWNXCFYr2q/s1600/fable.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="620" data-original-width="800" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi2I99ofnBLgxI4aANHqWd8VeEFu1UGdGC8sKvk0tur3jAsAQtE_CGMHM9Tv2QenUuWnNee4y0PomF9OzqbZyv9onPTG1oa3fCau7-_Ov0i0VZNO7FZhljd1MuydnWNXCFYr2q/s320/fable.jpg" width="320" /></a></div>
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Fable, 1580</div>
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I sure wish this one had come to Chicago!</div>
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It's not a genre scene - it's just high spirited goofiness.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwnL8iV4hisWyXsWTk1Wyo1tigh-Iq4IaVi85hUpco1GNzRGLllNyPZseSZLD815qpHj2GlnLeP79lezAD9lcU49VZiSIH4qaS2J8kY-DFkg2lGvzXx6IfmEgtIzk5eJP_YLK2/s1600/money+changers-whole.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="625" data-original-width="800" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwnL8iV4hisWyXsWTk1Wyo1tigh-Iq4IaVi85hUpco1GNzRGLllNyPZseSZLD815qpHj2GlnLeP79lezAD9lcU49VZiSIH4qaS2J8kY-DFkg2lGvzXx6IfmEgtIzk5eJP_YLK2/s320/money+changers-whole.jpg" width="320" /></a></div>
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Christ Driving the Money Changers Out of the Temple, 1571</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-fdLD9IwfJ9LtyuY5xb1BSqRG0tPgICE0MfcYJMOXpgEoP6WYqRJOTBJ7wyESt2QVCzlBWmVQDS-iSAUkFTERs1HcvkKLUh8ArM3cp2LV6Ij5NHDALhYDnA8H57qI8jNqIgbe/s1600/money+changers.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="615" data-original-width="1023" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-fdLD9IwfJ9LtyuY5xb1BSqRG0tPgICE0MfcYJMOXpgEoP6WYqRJOTBJ7wyESt2QVCzlBWmVQDS-iSAUkFTERs1HcvkKLUh8ArM3cp2LV6Ij5NHDALhYDnA8H57qI8jNqIgbe/s320/money+changers.jpg" width="320" /></a></div>
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Much better in detail than as a whole.</div>
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And it’s not really a very serious piece -</div>
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at least in a theological context.</div>
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With those four cameos in the lower right corner,</div>
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three of the most famous 16th century artists</div>
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plus a miniaturist who was a personal friend.</div>
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What have they got to do with Christ cleansing the temple?</div>
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And does anyone else here look like a money changer?</div>
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This is one of seventeen (!) versions that El Greco produced</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiinKxSWvPvZn_Uu5vxoGdXnx6wpJ5d5t64d8Z7jY5a-3Y18wlYnK5vlvr4UsyHQzlCITl_CuOhbtPanfaZMwCZTjF7NcsH_DCiUvfyCFZi0cSg9bpIEFl-qgjoR946wPEM9UPW/s1600/money+changers5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="776" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiinKxSWvPvZn_Uu5vxoGdXnx6wpJ5d5t64d8Z7jY5a-3Y18wlYnK5vlvr4UsyHQzlCITl_CuOhbtPanfaZMwCZTjF7NcsH_DCiUvfyCFZi0cSg9bpIEFl-qgjoR946wPEM9UPW/s320/money+changers5.jpg" width="310" /></a></div>
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Here's his last version from about 1610. (not in this show).</div>
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The stylistic contrast with earlier variations</div>
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was noted by Malraux in his Psychology of Art. </div>
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<span style="background-color: white; font-family: "arial"; font-size: 10pt; vertical-align: baseline; white-space: pre-wrap;">Presumably it demonstrates a pure transformation of forms </span></div>
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<span style="background-color: white; font-family: "arial"; font-size: 10pt; vertical-align: baseline; white-space: pre-wrap;">— without regard to imitation — </span></div>
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<span style="background-color: white; font-family: "arial"; font-size: 10pt; vertical-align: baseline; white-space: pre-wrap;">as conventional modeling shifts to flamelike Gothic elongation </span></div>
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<span style="background-color: white; font-family: "arial"; font-size: 10pt; vertical-align: baseline; white-space: pre-wrap;">even as the objects represented remain the same.</span></div>
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It seems to reflect a narrower notion of "money changers".</div>
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But why does this Jewish temple </div>
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feature statuary of a standing male nude ?</div>
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It ended up in a church in Madrid</div>
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which uncovers it for viewing only 1-5 hours /week.</div>
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I wonder why.</div>
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It's furtive, flashy, electric figuration</div>
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makes me think of a painter from the following century:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUcunsS7nOOJnlbuBHcylbBQn8h7mGG5bHmo_KeXs0MEBeylo2zSgoRJhLOCQhBctWLsDGRJDeN9wf1H0vUm9XNiueSZdBovIwKvkbGWCaeyFu3-SsVYAR2s_RvXswHmkxciQu/s1600/magnascoraisinglazarus.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="625" data-original-width="800" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUcunsS7nOOJnlbuBHcylbBQn8h7mGG5bHmo_KeXs0MEBeylo2zSgoRJhLOCQhBctWLsDGRJDeN9wf1H0vUm9XNiueSZdBovIwKvkbGWCaeyFu3-SsVYAR2s_RvXswHmkxciQu/s320/magnascoraisinglazarus.jpg" width="320" /></a></div>
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Allesandro Magnasco</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib0vJSBPe_gI1lDtm53Rb7dh9vEk07KAAyd6f4PMJ3E4u4v9FSp2CVcHmvVuWwIGF_VfbzZdaOBP8Fp56c2E2VJxOres65N7HMjFGYn7S9qJeCgzraseIS7-ESgDZXgOIAtQzd/s1600/50B0F170-C151-41BC-843C-160F73ED8D39.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="644" data-original-width="800" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib0vJSBPe_gI1lDtm53Rb7dh9vEk07KAAyd6f4PMJ3E4u4v9FSp2CVcHmvVuWwIGF_VfbzZdaOBP8Fp56c2E2VJxOres65N7HMjFGYn7S9qJeCgzraseIS7-ESgDZXgOIAtQzd/s320/50B0F170-C151-41BC-843C-160F73ED8D39.jpeg" width="320" /></a></div>
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Rembrandt, 1635<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX0as2B4lP-TCOuG9SWZ0XX0ta70zHrs0X6pDGuKKTZ0XYpdmoKl2fk2UsQZKI8eRr6CO_C8MXzH_2huhCk27iFbro3z0q5ibap49cAYYJCZRmiuw841eBYdgaQtHJ6Am4WmE5/s1600/CA96B7F2-D77D-434E-9EB0-D4A803B78BF4.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="798" data-original-width="800" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX0as2B4lP-TCOuG9SWZ0XX0ta70zHrs0X6pDGuKKTZ0XYpdmoKl2fk2UsQZKI8eRr6CO_C8MXzH_2huhCk27iFbro3z0q5ibap49cAYYJCZRmiuw841eBYdgaQtHJ6Am4WmE5/s320/CA96B7F2-D77D-434E-9EB0-D4A803B78BF4.jpeg" width="320" /></a></div>
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This version appeals to me much more.</div>
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Maybe you could call it social realism.</div>
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Who is that scruffy, crazy guy</div>
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who’s making so much trouble for the vendors?</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6kzyLm3fD_HTduWEL4FkQv_ZZQt8jllBpjjeQmDWkmHj2fZ6p7q5n70l3MRIEemzfVd7l2vhF2tHWdACrQAzPE8REM9w_YaxvCzCZn_7TrknEpRMsgizGdN2kAUiSzDlpeaiG/s1600/72536E33-64A8-4428-AFDC-DDF21D913738.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="491" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6kzyLm3fD_HTduWEL4FkQv_ZZQt8jllBpjjeQmDWkmHj2fZ6p7q5n70l3MRIEemzfVd7l2vhF2tHWdACrQAzPE8REM9w_YaxvCzCZn_7TrknEpRMsgizGdN2kAUiSzDlpeaiG/s320/72536E33-64A8-4428-AFDC-DDF21D913738.jpeg" width="196" /></a></div>
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The Disrobing of Christ</div>
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Wikipedia tells us that there are 17 versions of this theme,</div>
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the one in this show was borrowed from the Alte Pinakothek in Munich. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrEcuc2PrQfQTtLKcyVt7bIpjBZT3gnhrskq8SJXvgOReCoB2WJT7f2puSZH8olI4kYbou3wCgadZPZ0GnfUIzwxm-B2ambGSvPqSiWYg_5XHfk50jMGpQQ3SiOYbgW_56GYzb/s1600/605F3917-7693-45EB-8FE7-4867C59111BF.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="466" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrEcuc2PrQfQTtLKcyVt7bIpjBZT3gnhrskq8SJXvgOReCoB2WJT7f2puSZH8olI4kYbou3wCgadZPZ0GnfUIzwxm-B2ambGSvPqSiWYg_5XHfk50jMGpQQ3SiOYbgW_56GYzb/s320/605F3917-7693-45EB-8FE7-4867C59111BF.jpeg" width="186" /></a></div>
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Here's the original, about four feet higher,</div>
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still hanging in the Toledo Cathedral.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgfYIkB_qcd1d7HFlAezLooRgQrAoqWAOEEUGMHZfZMz-IWuC_mcNRp2BC-yIcPzIHvRy4kDLDRLjG_jpOApYV9ENJwjregXNkER7oy-TdXCeTYnZSTOcLBf2olzKmL6pUGYej/s1600/33B296D2-6AB5-4BDF-AF0F-B94E88F61FD9.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="511" data-original-width="457" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgfYIkB_qcd1d7HFlAezLooRgQrAoqWAOEEUGMHZfZMz-IWuC_mcNRp2BC-yIcPzIHvRy4kDLDRLjG_jpOApYV9ENJwjregXNkER7oy-TdXCeTYnZSTOcLBf2olzKmL6pUGYej/s320/33B296D2-6AB5-4BDF-AF0F-B94E88F61FD9.jpeg" width="286" /></a></div>
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detail of the Toledo version</div>
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The Munich version had some sharp, and probably original, drawing,</div>
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but it felt a bit cramped to me.</div>
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A scholar has suggested that it was made </div>
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in preparation for making the full size version.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwFEMaAlYmf3roC18i__kK-aYz3QS6gGwIqXQXwnCCnL9mx4mF87Uwj_RxXpaYJkvpZUbfMHU9SCtxAo8X8Dy_ZPIxpTdFOjVrg3eM3KB99SL1pev0JvaT70AX-Vg3Lyerw1JN/s1600/1DCCA5EA-7713-49CA-8203-842B1D3B4B1B.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="733" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwFEMaAlYmf3roC18i__kK-aYz3QS6gGwIqXQXwnCCnL9mx4mF87Uwj_RxXpaYJkvpZUbfMHU9SCtxAo8X8Dy_ZPIxpTdFOjVrg3eM3KB99SL1pev0JvaT70AX-Vg3Lyerw1JN/s320/1DCCA5EA-7713-49CA-8203-842B1D3B4B1B.jpeg" width="293" /></a></div>
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detail of the Munich version</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilx1H-uclC21SOHT5xtXPoehRZl08WupneVIxJAzfe3vg8jjoFiwEpL9t7AnWcfBlkZhoQIoE4SgQ40s-spwCPlQUdhDUlxIocRsWQ75nYECjEcbTv9_s1iwYUuXSeKM7O_4kE/s1600/A7A77D12-C439-4423-A8B9-B1FAEFD31806.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="611" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilx1H-uclC21SOHT5xtXPoehRZl08WupneVIxJAzfe3vg8jjoFiwEpL9t7AnWcfBlkZhoQIoE4SgQ40s-spwCPlQUdhDUlxIocRsWQ75nYECjEcbTv9_s1iwYUuXSeKM7O_4kE/s320/A7A77D12-C439-4423-A8B9-B1FAEFD31806.jpeg" width="244" /></a></div>
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Here's the version in Oslo,</div>
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It was done several decades later,</div>
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and is about half the size of the one in Munich</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0MLz0at4yx9WeI_630wC0b-vjRMkwfCFiAWRvkTexs5qjRtarEYYzJZWnDt7F2uZJv2erwALkIjCOvuyDzDuWqe7Hdf1lWEfituzoS_-496YqpC4SVkIcPL4TxzuE-s86RVPu/s1600/strigel+-+disrobing-of-christ..jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="671" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0MLz0at4yx9WeI_630wC0b-vjRMkwfCFiAWRvkTexs5qjRtarEYYzJZWnDt7F2uZJv2erwALkIjCOvuyDzDuWqe7Hdf1lWEfituzoS_-496YqpC4SVkIcPL4TxzuE-s86RVPu/s320/strigel+-+disrobing-of-christ..jpg" width="268" /></a></div>
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Bernhard Strigel - c. 1520</div>
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Having more of a northern European temperament myself,</div>
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this is a version that I prefer.</div>
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Jesus as victim - not conquering hero.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxzYwlntQIkXAcud-VFlQdfObEts105uTiki4Y-3g2wJIdeItt6MP7B81i0KaLdjhy2OP9CKglcDGXfMIdTrwf4y1SBwxI4fDV5LKVayeSkc_79_Ec3G2gcKJoxkp75fdyyjU8/s1600/st+francis++aic.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="639" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxzYwlntQIkXAcud-VFlQdfObEts105uTiki4Y-3g2wJIdeItt6MP7B81i0KaLdjhy2OP9CKglcDGXfMIdTrwf4y1SBwxI4fDV5LKVayeSkc_79_Ec3G2gcKJoxkp75fdyyjU8/s320/st+francis++aic.jpg" width="255" /></a></div>
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St. Francis in Meditation - Art Institute of Chicago</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg78A47sDxOmrBA4fdzNEIw8rHxlOnQmMe379U1oWYHaD4mB6EVQ0xWiNt_ee8-ZqYUI9PuhWDeuaF0khSR4G5RnaEnP6Z7gd8UGb__sRiO4zx_T35fnAWsRBWKJccrJNaB0fky/s1600/st+francis++sf.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="575" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg78A47sDxOmrBA4fdzNEIw8rHxlOnQmMe379U1oWYHaD4mB6EVQ0xWiNt_ee8-ZqYUI9PuhWDeuaF0khSR4G5RnaEnP6Z7gd8UGb__sRiO4zx_T35fnAWsRBWKJccrJNaB0fky/s320/st+francis++sf.jpg" width="230" /></a></div>
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Fine Arts San Francisco</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg70j7e-3aZGg52jDOFO1tfUW1B5-Yus9KNWol74vq-lmPdWtYhUprsCRI6KhIfbxtOhkw-rT0usxEJK7bE21d3CdG28-E7y4XB3lTeMsEqBlG5bxXiQRJhCBYpmikycFwRBCVD/s1600/francis+leo+canada.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="480" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg70j7e-3aZGg52jDOFO1tfUW1B5-Yus9KNWol74vq-lmPdWtYhUprsCRI6KhIfbxtOhkw-rT0usxEJK7bE21d3CdG28-E7y4XB3lTeMsEqBlG5bxXiQRJhCBYpmikycFwRBCVD/s320/francis+leo+canada.jpg" width="192" /></a></div>
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Francis and Leo contemplating Death</div>
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National Gallery, Ottawa</div>
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As the patron saint of Toledo, St Francis</div>
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had seven convents and three friaries in the city.</div>
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None of these pieces appealed to me -</div>
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perhaps because they aimed at provoking a </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi38VJHs6FHgBlBHLMfB3Ai8gzJ25lHPxH-NhIyID9UBhMG4kRp1WYl0lP27IrbTL1tXuKvincg5q1UmKnj-N2kRRy7AiFYNfkE6ga5JzXt7vkYUPkoPSFvLI_QtdTwr0ADuu5s/s1600/zurbaran+francis.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="535" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi38VJHs6FHgBlBHLMfB3Ai8gzJ25lHPxH-NhIyID9UBhMG4kRp1WYl0lP27IrbTL1tXuKvincg5q1UmKnj-N2kRRy7AiFYNfkE6ga5JzXt7vkYUPkoPSFvLI_QtdTwr0ADuu5s/s320/zurbaran+francis.jpg" width="214" /></a></div>
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Zurbaran, 1650's</div>
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I'm more enthusiastic about the severity, mystery,</div>
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and solidity</div>
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of Zurbaran's versions.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUaoms3Z8mwOs60z4mhQcaiVWkOrCsl80D7i6BH0Qk6XiMXi-o0IBmq4xc8o_XkF9VEYfb5_hCmqVNmJ70YmMVNLp1u8eoB4Ixi5-lwRi3KSax_QrLOz7ok_mEy9Yl_c0mu3sN/s1600/christ+mother+.JPEG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="729" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUaoms3Z8mwOs60z4mhQcaiVWkOrCsl80D7i6BH0Qk6XiMXi-o0IBmq4xc8o_XkF9VEYfb5_hCmqVNmJ70YmMVNLp1u8eoB4Ixi5-lwRi3KSax_QrLOz7ok_mEy9Yl_c0mu3sN/s320/christ+mother+.JPEG" width="291" /></a></div>
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Christ Taking Leave of his Mother</div>
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This sentimental piece comes from a convent in Toledo,</div>
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and should quickly be returned there.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDPYpVw10BYlgrNLfGsOcf-yO45N9CgzCbD6NQWpma0v2ASCBH_nF8-_GBzZLU-V9HWJFHKf6nKDR5mvQvexWGiLEYUwLT16y5NYnHCVGGv-wIqXKCDXobrmUZSkRLJTY-E9es/s1600/francis+stigmata+walters.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="729" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDPYpVw10BYlgrNLfGsOcf-yO45N9CgzCbD6NQWpma0v2ASCBH_nF8-_GBzZLU-V9HWJFHKf6nKDR5mvQvexWGiLEYUwLT16y5NYnHCVGGv-wIqXKCDXobrmUZSkRLJTY-E9es/s320/francis+stigmata+walters.jpg" width="303" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRxFl4tMHZt1FphKfEax_cWesNws6tBQE_pfKA-YmgJ3TCK6tQr5WFTkWgbcyoEJrqrfbF-M118QkTNswBuubyPpFrxvUQQMRY9nLAfbVEf4zCfrB3juUKlu-5CcKb4YsnB__7/s1600/francis+stigmata+ireland.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="599" data-original-width="555" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRxFl4tMHZt1FphKfEax_cWesNws6tBQE_pfKA-YmgJ3TCK6tQr5WFTkWgbcyoEJrqrfbF-M118QkTNswBuubyPpFrxvUQQMRY9nLAfbVEf4zCfrB3juUKlu-5CcKb4YsnB__7/s320/francis+stigmata+ireland.jpg" width="296" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkfvaFvvn8A2QXehXz6odk2yzonJiyMs7WZuK8QUro_GS1kOuwhV-IXZIRAmAbTGYcQZMF7R-AVzbuoX2jJAMDrn-6nOz_8QHNpi0DgKlbm6YvfBaa59kcSN_jnomXuWgSiuK6/s1600/magdalene.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="573" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkfvaFvvn8A2QXehXz6odk2yzonJiyMs7WZuK8QUro_GS1kOuwhV-IXZIRAmAbTGYcQZMF7R-AVzbuoX2jJAMDrn-6nOz_8QHNpi0DgKlbm6YvfBaa59kcSN_jnomXuWgSiuK6/s320/magdalene.jpg" width="305" /></a></div>
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Penitent Magdalene, 1577, Worcester Museum</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF2OZ5k2Ysk_Ne53DvGJMpEfbW4b2kSzISjZkj_DOM5N8vGpwMZBpSgY5n6XCRqTqAr4SALHppIiisDhlN-doyaKg3EiU5VDgzkbwRS9Yl8V07YKBwBQln2oYHc2r83Eno9jTi/s1600/magdalene-my.JPEG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="585" data-original-width="470" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgF2OZ5k2Ysk_Ne53DvGJMpEfbW4b2kSzISjZkj_DOM5N8vGpwMZBpSgY5n6XCRqTqAr4SALHppIiisDhlN-doyaKg3EiU5VDgzkbwRS9Yl8V07YKBwBQln2oYHc2r83Eno9jTi/s320/magdalene-my.JPEG" width="257" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtlVcKutc_xw8OjqG0uCtf6a_MoN5H5uqJT5aTT-04uL_pQXUIVeRCROyIDlbJYwVkXmFh6zsa3JRhbaMEATAejHgRvDEd5Xyhy5JXZURM-y5VHdH1E6yhuMtI8B5pgGXG37O3/s1600/magdalene+nelson+atkins.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="750" data-original-width="605" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtlVcKutc_xw8OjqG0uCtf6a_MoN5H5uqJT5aTT-04uL_pQXUIVeRCROyIDlbJYwVkXmFh6zsa3JRhbaMEATAejHgRvDEd5Xyhy5JXZURM-y5VHdH1E6yhuMtI8B5pgGXG37O3/s320/magdalene+nelson+atkins.png" width="258" /></a></div>
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1585, Nelson Atkins Museum</div>
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Both of these are in the bug-eyed school of toxic sentimentality -</div>
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but the 1585 version is just a little bit trashier.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX9g7UM6clp4daqNmhqI7qGNb7sLVtzSCWRY1P0DtXZKQeVaxVYdC7zuKnl0ObRYi7NiaHyRH7yKUfAY_-dE4I4Z0b-zAH9L_6-ArGyKgF28qUxLiEh7ZtKDscp17snZgR7WqZ/s1600/6F1E60FE-740E-400F-8FF4-D6185448769F.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="508" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX9g7UM6clp4daqNmhqI7qGNb7sLVtzSCWRY1P0DtXZKQeVaxVYdC7zuKnl0ObRYi7NiaHyRH7yKUfAY_-dE4I4Z0b-zAH9L_6-ArGyKgF28qUxLiEh7ZtKDscp17snZgR7WqZ/s320/6F1E60FE-740E-400F-8FF4-D6185448769F.jpeg" width="203" /></a></div>
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William Bouguereau</div>
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Here’s a 19th century version</div>
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of lurid sexual shame.</div>
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Yuck.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUL_kVAlZ3Zta9noBbZZHpPArfKDW68MdNoJlawU0UVVjYqfZiLw6f6eCyYWlibhscXadpCMloynPf0iKrZhPEHyMBLmeS2gQmUuEyCdy5rsVqK89YLUUuLUgMumWvd6OcVomN/s1600/magdalene+donatello.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="531" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUL_kVAlZ3Zta9noBbZZHpPArfKDW68MdNoJlawU0UVVjYqfZiLw6f6eCyYWlibhscXadpCMloynPf0iKrZhPEHyMBLmeS2gQmUuEyCdy5rsVqK89YLUUuLUgMumWvd6OcVomN/s320/magdalene+donatello.jpg" width="212" /></a></div>
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Donatello</div>
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By contrast,</div>
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here's a Magdalen who's truly penitent.</div>
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But why is a sex worker in greater need of penance than anyone else?</div>
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And why did the Roman church ignore the gospels </div>
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and start teaching that Mary Magdalen had been a whore?</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTkBAAzDRhn7w0vYfE86u6B6gtBkhICQ6mrLeOhjNxyE-o-EpiqwFgbkBASDoSUz9bPn-0pBOhvr2e8jZmX5zqisSDu3KDGMKKMnLsZ97ocjb5fqsiRnYQzVA6NC9UBXfWGFs4/s1600/14D4EA42-B5AC-478A-B114-5E52843D25E5.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1261" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTkBAAzDRhn7w0vYfE86u6B6gtBkhICQ6mrLeOhjNxyE-o-EpiqwFgbkBASDoSUz9bPn-0pBOhvr2e8jZmX5zqisSDu3KDGMKKMnLsZ97ocjb5fqsiRnYQzVA6NC9UBXfWGFs4/s320/14D4EA42-B5AC-478A-B114-5E52843D25E5.png" width="253" /></a></div>
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There are four versions of this image of St. Dominic.</div>
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The one shown above (not in this exhibit) looks rather morbid.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFgDkeStIPbclQ5pkXuIMdRkRS5i6Mw3F5twUdCZbRqQFo7js8u7iUYdDqpsBdZdyfAjBcRVZ3Px7WW8GXvv-I1nf3FaIChSihE5GFN1TQMqiI5tomA6GCazpvm53ulXLWAUcs/s1600/56A07260-519C-4CB0-8BAE-D21F048C7E09.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="618" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFgDkeStIPbclQ5pkXuIMdRkRS5i6Mw3F5twUdCZbRqQFo7js8u7iUYdDqpsBdZdyfAjBcRVZ3Px7WW8GXvv-I1nf3FaIChSihE5GFN1TQMqiI5tomA6GCazpvm53ulXLWAUcs/s320/56A07260-519C-4CB0-8BAE-D21F048C7E09.jpeg" width="247" /></a></div>
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This one, from a private collection in Madrid came to this show.</div>
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I didn't notice it in my two trips to the show,</div>
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but it appears to be much better -- so I'll look for it next time.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgL1pK6hu_6CiZHtcHEEk-PfkjGDEbCCjRdLgJfZRL7z34WNtglns1JfuTFBKjh8ypqFRfd3KE4q6HAcyivW2OEwZakW-ZpghqK3K3f17ifd1OqqB3c3-U85utyZcYPFlg-xtF/s1600/3103B36E-F632-47BD-8E1B-4E7B10A536A3.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="653" data-original-width="570" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgL1pK6hu_6CiZHtcHEEk-PfkjGDEbCCjRdLgJfZRL7z34WNtglns1JfuTFBKjh8ypqFRfd3KE4q6HAcyivW2OEwZakW-ZpghqK3K3f17ifd1OqqB3c3-U85utyZcYPFlg-xtF/s320/3103B36E-F632-47BD-8E1B-4E7B10A536A3.jpeg" width="279" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRDvBQc8CArK96TxFtf3NSnhr-mrPo-1IKZkbg4ae8wzFWSHrvDY3j-5SlRhJXfVSd4pRI9lGZbmAOEHm4J04TXRpN394eXjGiyrO9zeVovPmhVhLi4lkDQLsXDGJwoEjjE12o/s1600/F2E54D9D-DB9F-4335-B05B-B8A193B65A21.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="766" data-original-width="616" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRDvBQc8CArK96TxFtf3NSnhr-mrPo-1IKZkbg4ae8wzFWSHrvDY3j-5SlRhJXfVSd4pRI9lGZbmAOEHm4J04TXRpN394eXjGiyrO9zeVovPmhVhLi4lkDQLsXDGJwoEjjE12o/s320/F2E54D9D-DB9F-4335-B05B-B8A193B65A21.jpeg" width="257" /></a></div>
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St. Peter ( Phillips Collection)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieKgcB3tp4U7wuSl1nfCtPgQpzWb2cOFbS-UlFJaEyKY-aHDGO06J0SKH9YhklQ8evgFaC3wpTtbNngIfbpvZFqOBfu1dlk8BZlXXp2JSUvFCEv3RERXzmfhtC5aMrqNS8g-aP/s1600/A0DB3F34-7C82-4E7F-840C-98F881CB9E07.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="605" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieKgcB3tp4U7wuSl1nfCtPgQpzWb2cOFbS-UlFJaEyKY-aHDGO06J0SKH9YhklQ8evgFaC3wpTtbNngIfbpvZFqOBfu1dlk8BZlXXp2JSUvFCEv3RERXzmfhtC5aMrqNS8g-aP/s320/A0DB3F34-7C82-4E7F-840C-98F881CB9E07.jpeg" width="242" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlPRiuGwS9NDfjHWscS1Gs1Sm27m4eY7qyjzAwWK6fGrR4l0Q7vDPggYndD_9MCX1jNOcUbSBaZpkND0UuOyG6Fbey_LKvZXwAb2-bFnEo8KxIdwq7xbkK86DCHe3qTZ3hPLcR/s1600/peter+san+diego2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="648" data-original-width="599" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlPRiuGwS9NDfjHWscS1Gs1Sm27m4eY7qyjzAwWK6fGrR4l0Q7vDPggYndD_9MCX1jNOcUbSBaZpkND0UuOyG6Fbey_LKvZXwAb2-bFnEo8KxIdwq7xbkK86DCHe3qTZ3hPLcR/s320/peter+san+diego2.jpg" width="295" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkvlkmsbod9UCVN7ofsrvHocsYae2tSNkXFOiINuFoJH5DeDhPYubbkWbWNuLfqdQ19DgG-xSmYuf9nYHujq__cT3uZdPyz4ZK7hB7sE71BwWDYsURF8-1jX6-6Zlw0z_xiKI1/s1600/peter+san+diego.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="694" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkvlkmsbod9UCVN7ofsrvHocsYae2tSNkXFOiINuFoJH5DeDhPYubbkWbWNuLfqdQ19DgG-xSmYuf9nYHujq__cT3uZdPyz4ZK7hB7sE71BwWDYsURF8-1jX6-6Zlw0z_xiKI1/s320/peter+san+diego.jpg" width="277" /></a></div>
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Penitent St. Peter, San Diego Art Museum</div>
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Both of the above versions hung in this exhibit.</div>
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The expression on the faces is quite different.</div>
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Which kind of guilt do you prefer? Sadness or despair ?</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifDdZFdZq3XcOv41QAAXWLn9O7kKSobKoDt_0Js9z-V-MQxbrH0naUbfJ3PXWxMuTXuvRY36tdE9yTnyPPnqk-43v2ziKfrWxvgGIYkfptmaj-sBDW22qXOjPGqKEUaN7NK8ZW/s1600/holy+family+hispanic+society.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="730" data-original-width="613" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifDdZFdZq3XcOv41QAAXWLn9O7kKSobKoDt_0Js9z-V-MQxbrH0naUbfJ3PXWxMuTXuvRY36tdE9yTnyPPnqk-43v2ziKfrWxvgGIYkfptmaj-sBDW22qXOjPGqKEUaN7NK8ZW/s320/holy+family+hispanic+society.jpg" width="268" /></a></div>
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Holy Family, (Hispanic Society) 1580's</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDGplg_ub-99F-6i6zSXey-nJ06_PROgyZ0Tgs6WCe_mzUMyX2o8bgdOYv5ZeAiu4bap7sUcT16H2lZaL1bcHPVCmZ0NmgR0J4z2pW-49ImCIqfvmnfRjqH3rtGWjGZhUhftZ2/s1600/holy+family+cleveland++detail.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="563" data-original-width="800" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDGplg_ub-99F-6i6zSXey-nJ06_PROgyZ0Tgs6WCe_mzUMyX2o8bgdOYv5ZeAiu4bap7sUcT16H2lZaL1bcHPVCmZ0NmgR0J4z2pW-49ImCIqfvmnfRjqH3rtGWjGZhUhftZ2/s320/holy+family+cleveland++detail.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7ZRzLY4Pz7XalJVzEoMN3tiO57iHHstfW8C_u5YghlDGupy5235x-5PI2fa3Lccp_vW9Vabf6vzn_rFLPFgg4sYT4bo0vLdh-X7Z3oeG3DVkRLibpuC1qgix05nnpX_5ap0Qi/s1600/holy+family+cleveland.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="740" data-original-width="557" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7ZRzLY4Pz7XalJVzEoMN3tiO57iHHstfW8C_u5YghlDGupy5235x-5PI2fa3Lccp_vW9Vabf6vzn_rFLPFgg4sYT4bo0vLdh-X7Z3oeG3DVkRLibpuC1qgix05nnpX_5ap0Qi/s320/holy+family+cleveland.jpg" width="240" /></a></div>
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Holy Family, Cleveland Museum, 1590's</div>
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I can't stand either one,</div>
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but the one from Clevelend</div>
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is way way better.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhThYMAtMj_ytRd7LbPwT4ENaLtiVyNS2XR1TU2ruvhRDWBqd_g_eMGSBmf1CUl1sTar9iBCs2ggnkxFgesvT6K-UljwipMACeyl0zY4cCZH6uQAIVHHdAq3ap3TmIKzf7xZAVX/s1600/portrait+-+denmark.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="740" data-original-width="640" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhThYMAtMj_ytRd7LbPwT4ENaLtiVyNS2XR1TU2ruvhRDWBqd_g_eMGSBmf1CUl1sTar9iBCs2ggnkxFgesvT6K-UljwipMACeyl0zY4cCZH6uQAIVHHdAq3ap3TmIKzf7xZAVX/s320/portrait+-+denmark.jpg" width="276" /></a></div>
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Portrait of a Man, 1575 (National Gallery Denmark)</div>
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Perhaps, at one time,</div>
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this was a beautiful painting.</div>
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Fugitive color? Over cleaning ? </div>
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It certainly appears dull and perfunctory.</div>
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Maybe.. that's how the guy was.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQJBc_3IG1oICdY_tAwNUqrSQkZtiORMPRAxCNOB8v9msYQpyBTbcCQ5nuApUe7vCprEKJHIxs6Ou8P3BGmURSzSvTlki-3-h49eLa71JVkI1ZvTODoFpMW9-S6GiFxpLhiHFK/s1600/portrait+of+friar.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="750" data-original-width="694" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQJBc_3IG1oICdY_tAwNUqrSQkZtiORMPRAxCNOB8v9msYQpyBTbcCQ5nuApUe7vCprEKJHIxs6Ou8P3BGmURSzSvTlki-3-h49eLa71JVkI1ZvTODoFpMW9-S6GiFxpLhiHFK/s320/portrait+of+friar.png" width="296" /></a></div>
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Portrait of Trinitarian Friar 1605, Nelson Atkins Museum</div>
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Much more expressive than the above.</div>
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And is that a television remote control that he's holding ?</div>
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I think El Greco liked the Trinitarians.</div>
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He painted at least three of them.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6bo2t5cXyCWKq6gMFkbBW2gQyYjsud5yVm6Kfd2s_a9K8uQybSxjnnLepDDX5DrFjgRPGOrtcUI1hnQzKZPuEt5py38OgMYFFIy2LzfyAi6Sgr0w0yuMTc28JnzajwXJKJL-r/s1600/portrait+sculptor.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="740" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6bo2t5cXyCWKq6gMFkbBW2gQyYjsud5yVm6Kfd2s_a9K8uQybSxjnnLepDDX5DrFjgRPGOrtcUI1hnQzKZPuEt5py38OgMYFFIy2LzfyAi6Sgr0w0yuMTc28JnzajwXJKJL-r/s320/portrait+sculptor.jpg" width="296" /></a></div>
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Portrait of Pompeo Leoni, 1577-80</div>
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This one also appears to be in bad shape.</div>
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The above image from Wikipedia has been thoroughly Photo-shopped</div>
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in a futile attempt to make it more exciting.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx27Ri_FLSdK0b7NH0isgqZVibppmwQCT-b03F6k2eqHeQlbEeVrNFmEMWJQvJZunXlIPG3tikj9vWiX0lFu3zzffFdZR9mhhsWnId0oFTeafRhuIEz9ybZ2299bgv_5n0fFbs/s1600/leoni.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="594" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx27Ri_FLSdK0b7NH0isgqZVibppmwQCT-b03F6k2eqHeQlbEeVrNFmEMWJQvJZunXlIPG3tikj9vWiX0lFu3zzffFdZR9mhhsWnId0oFTeafRhuIEz9ybZ2299bgv_5n0fFbs/s320/leoni.jpg" width="237" /></a></div>
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Pompeo Leoni - Portrait of Phillip II</div>
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I kind of remember seeing this at the Met,</div>
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impressive but repulsive.</div>
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It's hard to be king.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinpnxXTHjM9tpyB39PDGeEZE6i8MuId6_0BIRg0sbLjlnXPaMhmvjZK-mrMxvP1x4SCJmGXsULfDiZIkVd2OD4D67WZwTxlOZjWWi_2Ie5XdO-bfgp9f-qav5UPrFcdeFwhIB4/s1600/portait+antonio.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="671" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinpnxXTHjM9tpyB39PDGeEZE6i8MuId6_0BIRg0sbLjlnXPaMhmvjZK-mrMxvP1x4SCJmGXsULfDiZIkVd2OD4D67WZwTxlOZjWWi_2Ie5XdO-bfgp9f-qav5UPrFcdeFwhIB4/s320/portait+antonio.jpg" width="268" /></a></div>
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Portrait of Antonio de Covarrubias, 1600 (Louvre)</div>
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He was a learned friend, and the portrait looks good</div>
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- but can't remember seeing it.</div>
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Another one to look for when the museum reopens.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFhOMOm96nBEKpvTNMGHps41X6JWTYyjVQk7zcGMzjXyEF232g2Ssu1akA8d6V1U2_ScoOU2aLLNvwkPXXIaAn2hxrjS64ngNxcsFLbTdudne0ppbXwXBWerRIMdW44IrA8A6m/s1600/9FF6C623-5FF2-4991-9DC5-D8EC25732889.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="767" data-original-width="639" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFhOMOm96nBEKpvTNMGHps41X6JWTYyjVQk7zcGMzjXyEF232g2Ssu1akA8d6V1U2_ScoOU2aLLNvwkPXXIaAn2hxrjS64ngNxcsFLbTdudne0ppbXwXBWerRIMdW44IrA8A6m/s320/9FF6C623-5FF2-4991-9DC5-D8EC25732889.png" width="266" /></a></div>
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Portrait of Francisco de Pisa, 1610</div>
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Nor do I remember this one.</div>
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Perhaps that’s because such a fearsome visage </div>
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needs a room all to itself.</div>
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Here are my favorites among </div>
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those portraits not included in this show:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTmrtJHQ63XsP7eFVshYZNWT3_MSeeXb0v8CzuiVsiffZ3jZabRyVgqDaJi464ju6is3GvaHLUfZmcQWlbKVHPftwl8zQKz_N5_01GInczwVDKP0drMhJuFH4jE1DwVjuS19Nk/s1600/E8CC3968-48E0-4D67-870F-0256487239FA.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="722" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTmrtJHQ63XsP7eFVshYZNWT3_MSeeXb0v8CzuiVsiffZ3jZabRyVgqDaJi464ju6is3GvaHLUfZmcQWlbKVHPftwl8zQKz_N5_01GInczwVDKP0drMhJuFH4jE1DwVjuS19Nk/s320/E8CC3968-48E0-4D67-870F-0256487239FA.jpeg" width="288" /></a></div>
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Self portrait?, 1600, the Met</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSj8EP5PaAwSSmw9WkcdwR6AJvXDDfJYEyD8ZzUiA3z51kGrhyhMzThZ_PHaubRVsXZ9wefOvy7tOM9mp8KAlnxUnh5YZ9U4IfQ_VL_nTRKGMa-ZvVBj7VlnQ1MCX7PBEuE4Hz/s1600/417749A0-0B6A-4DF9-891D-56D7B9A3668D.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="571" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSj8EP5PaAwSSmw9WkcdwR6AJvXDDfJYEyD8ZzUiA3z51kGrhyhMzThZ_PHaubRVsXZ9wefOvy7tOM9mp8KAlnxUnh5YZ9U4IfQ_VL_nTRKGMa-ZvVBj7VlnQ1MCX7PBEuE4Hz/s320/417749A0-0B6A-4DF9-891D-56D7B9A3668D.jpeg" width="228" /></a></div>
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Portrait of Cardinal Fernando Nino de Guevara, 1600. The Met</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghwfSl1w4eCIAI3hLz6YJhIEa12occ-UV2St9P4GuIIg_hVDvKuOsCFaWIcIC8Vc4BdBSpial0shz8AWWiplOtgMc3wZIyxHMpwHgyZpzR-p2THeuufRDFIkrpuc322AmEtaDs/s1600/76641EC8-633B-4670-9132-91F2B15DD28A.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="745" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghwfSl1w4eCIAI3hLz6YJhIEa12occ-UV2St9P4GuIIg_hVDvKuOsCFaWIcIC8Vc4BdBSpial0shz8AWWiplOtgMc3wZIyxHMpwHgyZpzR-p2THeuufRDFIkrpuc322AmEtaDs/s320/76641EC8-633B-4670-9132-91F2B15DD28A.jpeg" width="298" /></a></div>
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Portrait of Alonso de Ercilla y Zuniga, Hermitage</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMZvaipjplUhAkqpFBBmBu5a-EeXT5hFD7A39P6qCYjD3frF07ax5Alp6TdFLhYus8VeXO_GpI4cdUEwwzlNIEQJhAbcUOevy0rlD0L9_Gd5T5R0R5WWLv0QEFTHrSIvmwpse9/s1600/046CBD29-4966-4455-88D1-965E7B9F1964.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="430" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMZvaipjplUhAkqpFBBmBu5a-EeXT5hFD7A39P6qCYjD3frF07ax5Alp6TdFLhYus8VeXO_GpI4cdUEwwzlNIEQJhAbcUOevy0rlD0L9_Gd5T5R0R5WWLv0QEFTHrSIvmwpse9/s320/046CBD29-4966-4455-88D1-965E7B9F1964.jpeg" width="172" /></a></div>
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St. Simon, 1610-14 , Indianapolis Museum, workshop</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFsLSt92TNt3Crg0p5pWQ24W3AkJ72YFjjUSR1j49wxE1DFEPgbA-xbmObhbM_sDqqxsGXSflJAcDe7MAvMvY-k-9sUK_r_Gpofdv1BREW2u0i7xv-6rA5LXVOd4iVW1u8AzPy/s1600/A4805D5F-7972-4C9F-BCBF-30D513ACFC3F.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="719" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFsLSt92TNt3Crg0p5pWQ24W3AkJ72YFjjUSR1j49wxE1DFEPgbA-xbmObhbM_sDqqxsGXSflJAcDe7MAvMvY-k-9sUK_r_Gpofdv1BREW2u0i7xv-6rA5LXVOd4iVW1u8AzPy/s320/A4805D5F-7972-4C9F-BCBF-30D513ACFC3F.jpeg" width="287" /></a></div>
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El Greco Museum, Toledo - detail</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBcBo-wjJQpk7fKymSR0JGGa1i-QL2qIoQbkoJcywit3JxKyJNsNXqiyROOylsVBnfU25ofR5ZceI5K7Z7jaQ0B3RDX1lMIWbK6vF88nbLJz0o7k-P3JaNXyh-Z7FUHISZfMoC/s1600/5CCF03C6-40F9-4641-80F2-067A334F2976.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="505" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBcBo-wjJQpk7fKymSR0JGGa1i-QL2qIoQbkoJcywit3JxKyJNsNXqiyROOylsVBnfU25ofR5ZceI5K7Z7jaQ0B3RDX1lMIWbK6vF88nbLJz0o7k-P3JaNXyh-Z7FUHISZfMoC/s320/5CCF03C6-40F9-4641-80F2-067A334F2976.jpeg" width="202" /></a></div>
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1576-8, Private collection</div>
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This show includes three paintings of Christ on the cross.</div>
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Above is the earliest.</div>
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I like the mood of ominous conflated with miraculous.</div>
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but ..</div>
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the only reason to view such a thing is its attribution.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWzeUK8D9VEYwiiEtLKntgA6e_-VuxP1PwrFATG7v_7qTbfhgWTw1mCHm_tDKS_1oob7d5tPwzjmZJ-lwJFkjKS5BVYp88f2Bxp0xfPu4YK26IEPLuYkMQsSXUg4rdAiCEXpaf/s1600/EEB30386-728A-4A1C-9FF0-0D87CB28E403.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="778" data-original-width="800" height="311" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWzeUK8D9VEYwiiEtLKntgA6e_-VuxP1PwrFATG7v_7qTbfhgWTw1mCHm_tDKS_1oob7d5tPwzjmZJ-lwJFkjKS5BVYp88f2Bxp0xfPu4YK26IEPLuYkMQsSXUg4rdAiCEXpaf/s320/EEB30386-728A-4A1C-9FF0-0D87CB28E403.jpeg" width="320" /></a></div>
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Here is a slightly different variation</div>
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According to the auction house where it recently sold,</div>
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there are two others.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEV21c-pVRBoknN096sfYIseNj7gqa_YP3UR_7yPJWS8yqTfarqNlw2ztI_5l-4PF-jQUq7UT15S4X0cPycr666dh2oR6TQy31GBmnbE3GqfrM2nljyRHSrufhNRmgnPZdbREh/s1600/6808B117-E011-4FEE-9C69-97728F40ADA7.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="575" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEV21c-pVRBoknN096sfYIseNj7gqa_YP3UR_7yPJWS8yqTfarqNlw2ztI_5l-4PF-jQUq7UT15S4X0cPycr666dh2oR6TQy31GBmnbE3GqfrM2nljyRHSrufhNRmgnPZdbREh/s320/6808B117-E011-4FEE-9C69-97728F40ADA7.jpeg" width="230" /></a></div>
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Michelangelo, 1538</div>
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Gallery signage tells us that El Greco borrowed</div>
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contrapposto from the above drawing -</div>
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but I don't see as much twist in his torsos.</div>
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Michelangelo's Christ has mass and is earthbound,</div>
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while El Greco's is rising up like a flame.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ9WeJMKKj7rVIm84Z3pl0sfPvE1a0DWI_sd2YVZG_eUC_UVi5nLb6B1xZYBBotd99dphLTsoJKxMZs5MooVkhyphenhyphenwuJ8yWr9J6-ImlTikRi9waKvhY9lYkM5xtLH7JUvA8Zuz57/s1600/christ+cross+cleveland+detail.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="759" data-original-width="800" height="303" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ9WeJMKKj7rVIm84Z3pl0sfPvE1a0DWI_sd2YVZG_eUC_UVi5nLb6B1xZYBBotd99dphLTsoJKxMZs5MooVkhyphenhyphenwuJ8yWr9J6-ImlTikRi9waKvhY9lYkM5xtLH7JUvA8Zuz57/s320/christ+cross+cleveland+detail.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi659qupAOjHXpVRDIEsyVAhTfaOH0RfbkdsAalHFsKrAEqaE7aPXWyPh_XxTFcT8MWHBVdFR1ZphvHRu9WCuA031RPd0KND8sJ4v1tfXdcAhglGGUu0Zopf33zyWh39EfVIaXH/s1600/christ+cross+cleveland.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="665" data-original-width="379" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi659qupAOjHXpVRDIEsyVAhTfaOH0RfbkdsAalHFsKrAEqaE7aPXWyPh_XxTFcT8MWHBVdFR1ZphvHRu9WCuA031RPd0KND8sJ4v1tfXdcAhglGGUu0Zopf33zyWh39EfVIaXH/s320/christ+cross+cleveland.png" width="182" /></a></div>
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Christ on Cross, 1600-14, Getty</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieA8VmLEFM5JHMdXUbgH16LTBAE-RIo1ENCiSJPyyDGrg5eJT2nCltRU8mDXvaIxvYjckX1YiBY8rfeWwTUBs940a7SIAv4J-PtJTFELxVKSp7VfOsMJ4FVI8oJloazeC5uVOl/s1600/christ+cross+getty1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="495" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieA8VmLEFM5JHMdXUbgH16LTBAE-RIo1ENCiSJPyyDGrg5eJT2nCltRU8mDXvaIxvYjckX1YiBY8rfeWwTUBs940a7SIAv4J-PtJTFELxVKSp7VfOsMJ4FVI8oJloazeC5uVOl/s320/christ+cross+getty1.jpg" width="198" /></a></div>
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Cleveland Museum</div>
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I like this version so much better than the other two,<br />
especially for the background</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmZ2FC5TuiPCEQ4PcjmnT_zadDg5HeoDQ0KWmKjUcNPE-TDObxFrgOrOX_FqmlImPa2gjDWlEvLTNX4EF34SojuMp8XlDtyonEuMLF-azyH6D2ZLUOb9EL4EOl7_D4yzgBMaCj/s1600/christ+cross+gettydetail.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="737" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmZ2FC5TuiPCEQ4PcjmnT_zadDg5HeoDQ0KWmKjUcNPE-TDObxFrgOrOX_FqmlImPa2gjDWlEvLTNX4EF34SojuMp8XlDtyonEuMLF-azyH6D2ZLUOb9EL4EOl7_D4yzgBMaCj/s320/christ+cross+gettydetail.jpg" width="294" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih4fP3MK7S55sH0vfkzXm3ND_yY8XluLHSvfuj_YQIHCfbm63YKrA8bMlrWt-1fXmyRQGNRQ98Bj8WeAey-RWntNmmM7NJJnqTews2fK73i88BP9JnN-3LDMAAjj6gIlFz0_p_/s1600/C43ABBC9-1A76-44E2-8DFD-B6DBC9C0B088.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="527" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih4fP3MK7S55sH0vfkzXm3ND_yY8XluLHSvfuj_YQIHCfbm63YKrA8bMlrWt-1fXmyRQGNRQ98Bj8WeAey-RWntNmmM7NJJnqTews2fK73i88BP9JnN-3LDMAAjj6gIlFz0_p_/s320/C43ABBC9-1A76-44E2-8DFD-B6DBC9C0B088.jpeg" width="210" /></a></div>
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Louvre, 1580-90</div>
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This one struck me as a clumsy mess.</div>
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The two patrons at the bottom</div>
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feel like they were added after the rest was finished.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvauoxmKXm-CQoDb_L91FBfZ26QlLs-u4Ui-d2Hy_HahwV5_N_I78s93DjWSHH7ofctvtpsY9ohys6jc0tb3v6zHAJPPeu2BSvXOw1gSwBFDBD7hepGaLOK75x5DkvkQc7LUGG/s1600/titian+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="677" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvauoxmKXm-CQoDb_L91FBfZ26QlLs-u4Ui-d2Hy_HahwV5_N_I78s93DjWSHH7ofctvtpsY9ohys6jc0tb3v6zHAJPPeu2BSvXOw1gSwBFDBD7hepGaLOK75x5DkvkQc7LUGG/s320/titian+2.jpg" width="270" /></a></div>
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Titian, 1555 (detail)</div>
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This went into the Escorial</div>
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so possibly El Greco saw it.</div>
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Much more grim than El Greco.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjPhQzUa7yE12F_7eVwjz7FhMeHzTI0XAwa4x1E2adkWTqtGPhgSzvKqgmUXq6T8apFj0zMjgAc-Rsrck6xC9uP173wk8YFAhj5pKcjWZcajt6oSvpjhwwNcjlZWPn1DG-YWFU/s1600/gruewald.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="775" data-original-width="800" height="309" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjPhQzUa7yE12F_7eVwjz7FhMeHzTI0XAwa4x1E2adkWTqtGPhgSzvKqgmUXq6T8apFj0zMjgAc-Rsrck6xC9uP173wk8YFAhj5pKcjWZcajt6oSvpjhwwNcjlZWPn1DG-YWFU/s320/gruewald.jpg" width="320" /></a></div>
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Grunewald, 1515</div>
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Grimmest of all,</div>
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this is my favorite treatment of the theme.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitTP5O2w4fhZZluuzU4qjjkd0gWcVSH1_HOaeq2lZC6uOml7bNGeXyO45kkf_eRqf5UpY63BkXo-1FOV4un3OG2JIa7uU4IyCzwJ7PnCr7v2w8yBdM8vD50kNU97qbNn0b8WN5/s1600/95DFAF5A-96D4-4177-BE0F-97C007659D01.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="379" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitTP5O2w4fhZZluuzU4qjjkd0gWcVSH1_HOaeq2lZC6uOml7bNGeXyO45kkf_eRqf5UpY63BkXo-1FOV4un3OG2JIa7uU4IyCzwJ7PnCr7v2w8yBdM8vD50kNU97qbNn0b8WN5/s320/95DFAF5A-96D4-4177-BE0F-97C007659D01.jpeg" width="151" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWm35wYD_VFuSJCs89PkVe3Bg39IMSRXfXlaheoR6DqOBYHsSrlIVLBsjkuYWy6Vk3Sc3oSUfaKjqFq3M4PvAPKlw8qMhiHTf2_J9Yl9YQBAjq7crl2-dz-LZRuOG7pboiPVcF/s1600/FD45CC9A-04F9-4F3E-8450-D264CD3AB2F0.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="573" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWm35wYD_VFuSJCs89PkVe3Bg39IMSRXfXlaheoR6DqOBYHsSrlIVLBsjkuYWy6Vk3Sc3oSUfaKjqFq3M4PvAPKlw8qMhiHTf2_J9Yl9YQBAjq7crl2-dz-LZRuOG7pboiPVcF/s320/FD45CC9A-04F9-4F3E-8450-D264CD3AB2F0.jpeg" width="229" /></a></div>
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The show also included the above wood carving.</div>
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I can’t see any connection to the paintings</div>
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other than subject and period</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPb0-PF1EGEFSL-RPYI4ZC5ER1gujR_Vd1LHFcdzMGnF7nsi9VgHccdbxm_KEl_Hx5u26bou28WgdNAVmmM3GuORelKkzHUifAKOXLPVbzR9prR8Fpyr5NxmTecx9bDefli-fT/s1600/0F382529-0544-4D9C-8840-BFE52FF24D89.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="578" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPb0-PF1EGEFSL-RPYI4ZC5ER1gujR_Vd1LHFcdzMGnF7nsi9VgHccdbxm_KEl_Hx5u26bou28WgdNAVmmM3GuORelKkzHUifAKOXLPVbzR9prR8Fpyr5NxmTecx9bDefli-fT/s320/0F382529-0544-4D9C-8840-BFE52FF24D89.jpeg" width="231" /></a></div>
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Here’s another 16th c. Spanish sculptor for comparison.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5frCWDJiY4Wjc55AXl1iZeBXW2-2AsHG9iTwUbPRztbTm7akW-1V_wbm0iTB8JbRMI-t95H4A4JUMAkokbMJOt6E-_7XINFOQyUggo7idvOXSsYUjGW01ERhSdjUxvm1GSoeJ/s1600/263F61B3-9847-4B1C-90A2-077F5A6005A2.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="568" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5frCWDJiY4Wjc55AXl1iZeBXW2-2AsHG9iTwUbPRztbTm7akW-1V_wbm0iTB8JbRMI-t95H4A4JUMAkokbMJOt6E-_7XINFOQyUggo7idvOXSsYUjGW01ERhSdjUxvm1GSoeJ/s320/263F61B3-9847-4B1C-90A2-077F5A6005A2.jpeg" width="227" /></a></div>
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Juan Martinez Montana’s, 1605</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQV6jd2IQM0hcqIkz7Vue15li7Ie-R452sxmumRbXJGXOW8KiCzbo-DCLICemvwjwrYt5Z2H63VfpUkuMYvuC7bJOqzNY98iQSj7Ss9CsUjQgM7YLc2M2WE0AZlr2FsOD8NX85/s1600/F48B0AFF-C3A6-4CAC-93C3-7088FCA9F70A.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="534" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQV6jd2IQM0hcqIkz7Vue15li7Ie-R452sxmumRbXJGXOW8KiCzbo-DCLICemvwjwrYt5Z2H63VfpUkuMYvuC7bJOqzNY98iQSj7Ss9CsUjQgM7YLc2M2WE0AZlr2FsOD8NX85/s320/F48B0AFF-C3A6-4CAC-93C3-7088FCA9F70A.jpeg" width="213" /></a></div>
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Juan de Mesa y Velasco (1583-1627)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzMWhLgNexTgpj2xFMpAgGDZa7Ytd5fvT6vh_Ai7KVCAZKOm8D4hzYS_IltfOLFQeQDtuqU93wZRjKjNR74UFxj0NeS5M0n_yaeytlBJQ8eEWpoUQikZz96fxH9QKXR34IU6w9/s1600/4B432C5A-9610-43CA-A878-5506073F3C54.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="650" data-original-width="536" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzMWhLgNexTgpj2xFMpAgGDZa7Ytd5fvT6vh_Ai7KVCAZKOm8D4hzYS_IltfOLFQeQDtuqU93wZRjKjNR74UFxj0NeS5M0n_yaeytlBJQ8eEWpoUQikZz96fxH9QKXR34IU6w9/s320/4B432C5A-9610-43CA-A878-5506073F3C54.png" width="263" /></a></div>
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Juan de Mesa, 1618</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_RYqz38FKTz4HxGm2wilBC9py1dOAFZikP3qZotE4MJT7OxL4W0YmLIQunQqDT7GEzZK0t9L6459XpWIoYkPrcXFtFGKfpYR-52A1hNkAjL_sbjCa10usnXduluTzy0clAjmg/s1600/DBBC2432-1E8F-45A2-BAAC-8EC1A2F5DBFF.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="611" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_RYqz38FKTz4HxGm2wilBC9py1dOAFZikP3qZotE4MJT7OxL4W0YmLIQunQqDT7GEzZK0t9L6459XpWIoYkPrcXFtFGKfpYR-52A1hNkAjL_sbjCa10usnXduluTzy0clAjmg/s320/DBBC2432-1E8F-45A2-BAAC-8EC1A2F5DBFF.jpeg" width="254" /></a></div>
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And here are some more pre-Renaissance favorites,</div>
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the Medieval Spanish piece above is at the Chicago Art Institute</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipUmrwTt-AWUM-_3K995zIFuy4FHJy226b3E43UBokAsVhzBtT2SuYyJI5TCXJoLPj1PmghhdzJ3k-BZQp8tM5sDH8TT0eLBAnUTYHopogtq_IH9D-MHP7OcnZU4fGllEQr-1J/s1600/EC193188-FFA8-4D09-A4E3-46A0F3DFDE05.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="705" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipUmrwTt-AWUM-_3K995zIFuy4FHJy226b3E43UBokAsVhzBtT2SuYyJI5TCXJoLPj1PmghhdzJ3k-BZQp8tM5sDH8TT0eLBAnUTYHopogtq_IH9D-MHP7OcnZU4fGllEQr-1J/s320/EC193188-FFA8-4D09-A4E3-46A0F3DFDE05.jpeg" width="293" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuVZ11gXNAamFpwPTVZt4JPFXUa_rO1BngYegZBlF1nGiB5EBLb3GjduftW-DJDjgjSJsPMcE6jGO3Ddjm7S1dksbp57Y7GwLpr8n6qD-Bxq65xYASPV028yG7dXp7e4wOJwgP/s1600/9BB71215-E972-46A9-91FF-7F174D3EC0B1.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="746" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuVZ11gXNAamFpwPTVZt4JPFXUa_rO1BngYegZBlF1nGiB5EBLb3GjduftW-DJDjgjSJsPMcE6jGO3Ddjm7S1dksbp57Y7GwLpr8n6qD-Bxq65xYASPV028yG7dXp7e4wOJwgP/s320/9BB71215-E972-46A9-91FF-7F174D3EC0B1.jpeg" width="298" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicG4J2GeW8KuLY5bW0rqnW8SJD4KW0pWMNU_V9fYuL3CNZWIbxBP6dzqmF2UHKNzvsLMB_xO5h0oeWYWIXquOaax9x51S50_p91nk4fA8gX-zCNX9FGEVef16TZsGULDuL2Gmp/s1600/F4503A69-E88D-4C67-A2A5-A3D73CAA3D10.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="639" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicG4J2GeW8KuLY5bW0rqnW8SJD4KW0pWMNU_V9fYuL3CNZWIbxBP6dzqmF2UHKNzvsLMB_xO5h0oeWYWIXquOaax9x51S50_p91nk4fA8gX-zCNX9FGEVef16TZsGULDuL2Gmp/s320/F4503A69-E88D-4C67-A2A5-A3D73CAA3D10.jpeg" width="255" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSJHW0DfZDJMuEosrYpMVmtZAYdH_quAaUBzOMq-xOnmdNuOEa9h5WbyvJNa4gfL9GOwl9NkAGhO0t8sXlk-U6SZjUWQf0RWeBotzQ9rul7wjcmb0hCtjIJnnKr2fAXZ_3H1hp/s1600/563E80A9-2D86-4118-9710-9F2C40AC625F.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="457" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSJHW0DfZDJMuEosrYpMVmtZAYdH_quAaUBzOMq-xOnmdNuOEa9h5WbyvJNa4gfL9GOwl9NkAGhO0t8sXlk-U6SZjUWQf0RWeBotzQ9rul7wjcmb0hCtjIJnnKr2fAXZ_3H1hp/s320/563E80A9-2D86-4118-9710-9F2C40AC625F.jpeg" width="182" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1LwTuSFtcPIvESGYs17uLptBRc0W-_6oGSFuD0vCr6w7j6bb6yUDu86WeS-2l0bqFrnQSxQ9lI5XeXOCmGtzdli1uzqeVbKQnZmA9Ai4zNP-8NDq0GfC6Sci_g1YMCltNiCng/s1600/B25E1E2D-F6B9-41B2-9BD3-DEAE5547F19E.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="462" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1LwTuSFtcPIvESGYs17uLptBRc0W-_6oGSFuD0vCr6w7j6bb6yUDu86WeS-2l0bqFrnQSxQ9lI5XeXOCmGtzdli1uzqeVbKQnZmA9Ai4zNP-8NDq0GfC6Sci_g1YMCltNiCng/s320/B25E1E2D-F6B9-41B2-9BD3-DEAE5547F19E.jpeg" width="184" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOkm02VsWJVBOHP0v7WWZzcaxB8T_ByyNr3Xo8U2MWY-48hWkY8356hiSUYsHvnX-vTlBbAxgdAp03rDPdbkWTFkoNfP7qpGuZK3lX49g-grRA0gmOOotRn-QQJPds_AQmtwjp/s1600/E5F3534E-0EA3-487E-8EF5-EDE4FF4920D5.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="460" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOkm02VsWJVBOHP0v7WWZzcaxB8T_ByyNr3Xo8U2MWY-48hWkY8356hiSUYsHvnX-vTlBbAxgdAp03rDPdbkWTFkoNfP7qpGuZK3lX49g-grRA0gmOOotRn-QQJPds_AQmtwjp/s320/E5F3534E-0EA3-487E-8EF5-EDE4FF4920D5.jpeg" width="184" /></a></div>
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Annunciation, 1596-1600, Bilbao Museum</div>
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This is a small copy of a ten-foot altarpiece. </div>
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At full size it's probably spectacular.</div>
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At 45 inches, though, it's too busy - </div>
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even if executed by the artist's own hand.</div>
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Will museums ever present a special exhibition</div>
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of life-size photo-reproductions of the great altarpieces?</div>
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That could be so much better<br />
than small copies,<br />
even if made by the artist himself.</div>
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St. Luke Painting the Virgin, 1560-67</div>
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Luke's right hand in front of his painted Virgin seems rather awkward.</div>
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It appears to coexist in two contrasting pictorial worlds.</div>
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It's a shame the surface is so badly damaged.</div>
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The Visitation, 1609-13</div>
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Not very satisfying - was it finished?</div>
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But there is an eerie, prophetic strangeness</div>
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about this meeting of these two gravid women </div>
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that I can't find in any other depictions<br />
of this theme.</div>
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Dinner in the House of Simon, Art Institute of Chicago, 1608-14</div>
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Jorge Manuel ( El Greco's son), Hispanic Society of America, 1607-[21</div>
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Neither one of these variations is now attributed entirely to El Greco.</div>
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I've never liked the one in the Art Institute.</div>
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His son's version feels less jumbled.</div>
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Jorge Miguel: Noli Me Tangere</div>
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I can't find where El Greco ever did this theme,</div>
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so I suppose his son, Jorge Miguel, invented this interpretation.</div>
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Very romantic.</div>
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Presumably, Mary Magdalene has touched Jesus before.</div>
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Richard J. (Dick) Miller</div>
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My father's version is more -- well -- it speaks for itself</div>
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(as seen in our backyard at 2823 Erie, Cincinnati)</div>
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Titian</div>
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This one is my favorite</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKweWbRPXrSz3RJxON6JNVlrvE3kWNdVd3nCyZYRzTK024hztAA8HMKEz1BikLMf55qYGBXfbmApodxnqHnW3mUiwfo0R_A193z4ssVCYI38zie5j3GyEMdjyQRFMpzKnli9fm/s1600/noli%253D-+titian+++detail.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="795" data-original-width="800" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKweWbRPXrSz3RJxON6JNVlrvE3kWNdVd3nCyZYRzTK024hztAA8HMKEz1BikLMf55qYGBXfbmApodxnqHnW3mUiwfo0R_A193z4ssVCYI38zie5j3GyEMdjyQRFMpzKnli9fm/s320/noli%253D-+titian+++detail.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmcofOe-yJ2clrKK_vaLrRLzc9OgLVLC7T2TvwAhIYik1Ph-xmDNcP3lJEhJz3z1L0eIe0U__zw4tJioO8oAp4wSOVBHED5NRG5VMVgSJigeYWC_jckYl3LGOOHGyb1iU-V8Nb/s1600/Resurrection.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="369" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmcofOe-yJ2clrKK_vaLrRLzc9OgLVLC7T2TvwAhIYik1Ph-xmDNcP3lJEhJz3z1L0eIe0U__zw4tJioO8oAp4wSOVBHED5NRG5VMVgSJigeYWC_jckYl3LGOOHGyb1iU-V8Nb/s320/Resurrection.jpg" width="147" /></a></div>
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Resurrection, 1597-1600</div>
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I sure wish the Prado had lent this nine-foot vision to the exhibition.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM90A8WyrxCSWO2mUSNLsXf4iKPlqLSs5rOFeGqvoZh-bPGJnklJuh7iMNpPmNUeBFPto6ut_trjpMaiv1pj4xZdDfro_KtH-ppO3YZBALLX1Ue8vE3Hjd9DFOSuyzIsfgg4uC/s1600/C9BEFB53-A8AF-429E-8BA3-91FAA7E2605F.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="595" data-original-width="750" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM90A8WyrxCSWO2mUSNLsXf4iKPlqLSs5rOFeGqvoZh-bPGJnklJuh7iMNpPmNUeBFPto6ut_trjpMaiv1pj4xZdDfro_KtH-ppO3YZBALLX1Ue8vE3Hjd9DFOSuyzIsfgg4uC/s320/C9BEFB53-A8AF-429E-8BA3-91FAA7E2605F.jpeg" width="320" /></a></div>
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Laocoon, 1610-14</div>
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Sadly, this piece did not travel to this exhibit,</div>
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but it's such a wonderful thing</div>
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this discussion cannot conclude without it.</div>
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It's the artist's only known treatment of classical mythology</div>
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apparently done just for the wonder of it.</div>
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A sense of infinite wonder.<br />
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The form, when seen close up, is more like an electrical field than a solid mass.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPyFECj0l-1dL2rgXC-vziWdLs23a8JGhSiLPI2lggO1sqLU8c7duJypdVcE0y8lHjLHGcSqxZBFOVbC8mjFNOa9OokarcjDzyWStqnwycIOJsui0tGazTsRNTgpUERY1gLAAl/s1600/E073C769-0263-42D8-ADCA-463B599EEC40.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="652" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPyFECj0l-1dL2rgXC-vziWdLs23a8JGhSiLPI2lggO1sqLU8c7duJypdVcE0y8lHjLHGcSqxZBFOVbC8mjFNOa9OokarcjDzyWStqnwycIOJsui0tGazTsRNTgpUERY1gLAAl/s320/E073C769-0263-42D8-ADCA-463B599EEC40.jpeg" width="260" /></a></div>
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I love the space of the cityscape within the oval snake.</div>
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I can’t help but thinking:</div>
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“THIS is modern painting!”</div>
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....yet it is still so different from anything in the twentieth century.</div>
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It’s a social, not a personal statement,</div>
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but unlike social realism, it’s reality is not earthbound.</div>
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To borrow a notion from Roger Fry (discussed below),</div>
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El Greco was not just ahead of his time,</div>
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he was ahead of our time as well.</div>
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As <a href="https://observer.com/2001/05/el-greco-modern-augurer-stirred-mobs-to-battle/">Hilton Kramer noted in the Observer in 2001</a></div>
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"El Greco, Modern Augerer, Stirred Mobs to Battle",</div>
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Roger Fry was an outspoken champion of El Greco in the early twentieth century,</div>
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back when his paintings were beginning to enter American museums.</div>
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The above title of Kramer’s essay pays homage to the Roger Fry essay quoted below.</div>
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Kramer also noted that </div>
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<span style="color: red;">"I have not attempted to “review” the current El Greco exhibition at the Frick Collection.</span></div>
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<span style="color: red;">To do so would be an intellectual impertinence." </span></div>
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Hurrah for Mr. Kramer.</div>
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It’s not unusual for an art journalist to avoid passing judgment on an iconic old master,</div>
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but it is quite unusual for him to announce it.</div>
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Neither Fry nor myself, however, have been so modest.</div>
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Below is the text of Fry's discussion </div>
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of "The Agony in the Garden" </div>
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which had just been acquired by the National Gallery in London in 1920.</div>
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Agony in the Garden, National Gallery, London</div>
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<span style="color: yellow;">MR. HOLMES has risked a good deal in acquiring for the nation the new El Greco. The foresight and understanding necessary to bring off such a coup are not the qualities that we look for from a Director of the National Gallery. Patriotic people may even be inclined to think that the whole proceeding smacks too much of the manner in which Dr. Bode in past ages built up the Kaiser Friedrich Museum, largely at the expense of English collections. Even before the acquisition of the El Greco there were signs that Mr. Holmes did not fully understand the importance of “muddling through.” And now with the El Greco he has given the British public an electric shock. People gather in crowds in front of it, they argue and discuss and lose their tempers. This might be intelligible enough if the price were known to be fabulous, but, so far as I am aware, the price has not been made known, so that it is really about the picture that people get excited. And what is more, they talk about it as they might talk about some contemporary picture, a thing with which they have a right to feel delighted or infuriated as the case may be—it is not like most old pictures, a thing classified and museumified, set altogether apart from life, an object for vague and listless reverence, but an actual living thing, expressing something with which one has got either to agree or disagree. Even if it should not be the superb masterpiece which most of us think it is, almost any sum would have been well spent on a picture capable of provoking such fierce æsthetic interest in the crowd.
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I doubt that such “fierce aesthetic interest in the crowd ever happened” — but I hope it did. I’ve never seen anything like it in Chicago where crowds in art museums tend to be quiet and submissive in front of gallery signage and electronic audio tours.<br />
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<span style="color: yellow;">That the artists are excited - never more so - is no wonder foe here is an artist who is not merely modern, but actually appears a few steps ahead of us, turning back to show us the way. Immortality if you like!.
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In this notion of the “modern” as progressive (rather than merely fashionable) , El Greco surpassed not just his predecessors and peers, but today’s artists as well. No wonder Hilton Kramer felt unfit to critique him. It would be like a Christian presuming to critique St. Paul or John the Baptist.<br />
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Is this the “modern” of Picasso and Kandinsky or Manet and Degas ? El Greco is known to have appealed to both kinds of artists, although these two kinds were, and remain often adversarial. <br />
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<span style="color: yellow;">What makes this El Greco “count” with them as surely no old master painting ever did within memory? First, I suspect, the extraordinary completeness of its realization. Even the most casual spectator passing among pictures which retire discreetly behind their canvases, must be struck by the violent attack of these forms, by a relief so outstanding that by comparison the actual scene, the gallery, and one’s neighbors are reduced to the hey of a Whistlerian nocturne. Partly, for we must face the fact, the melodramatic apparatus; the “horrid” rocks, the veiled moon, the ecstatic gestures. Not even the cinema star can push expression further than this. Partly no doubt the clarity and balanced rhythm of the design, the assurance and grace of the handling. For however little people may be conscious of it, formal qualities do affect their reaction to a picture. Though they may pass from them almost immediately to its other implications. And certainly here, if anywhere formal considerations must obtrude themselves even on the most unobservant.
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So apparently this crowd prefers a violent attack to the more peaceful feeling of a Whistler nocturne. Why can’t Fry just say that this is his personal preference?<br />
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<span style="color: yellow;">The extraordinary emphasis and amplitude of the rhythm , which thus gathers up into a few sweeping diagonals the whole complex vision, is directly stimulating and exciting. It affects one like an irresistible melody, and makes that organization of all the parts into a single whole, which is generally so difficult for the uninitiated, an easy matter for once.</span><br />
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Of what great painting could this not be said? Such universality is one of the principal drawbacks of formalist art criticism. How can the critic say anything new and interesting? The other drawback being that it must ignore so much of what was both intended and evident.<br />
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<span style="color: yellow;"> El Greco, indeed, puts the problem of form and content in a curious way. The artist, whose concern is ultimately and, I believe, exclusively with form, will no doubt be so carried away by the intensity and completeness of the design, that he will never even notice the melodramatic and sentimental content which shocks or delights the ordinary man. It is nonetheless interesting to inquire in what way these two things, the melodramatic expression of high pitched religiosity and a peculiarly intense intense feeling for plastic unity and rhythmic amplitude, were combined in El Greco’s work; even to ask whether there can have been any causal connection between them in the workings of El Greco’s spirit.
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It’s one thing to say that you, the viewer, are exclusively concerned with form. I might almost say that myself. If a certain quality in the form is not there, I have no interest in the piece at all. But if formal quality does indeed compel my attention, then I become quite curious about content. And I’m not sure that my mind is ever really totally unaware and unconcerned with content (though I must allow that more highly disciplined minds might well be.)<br />
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It’s quite another thing, however , to claim that the artist himself was unconcerned with content - especially when that content appears to be consistent from one piece to the next. Such a claim is too absurd not to just be a rhetorical device.<br />
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<span style="color: yellow;">Strange and extravagantly individual as El Greco seems, he was not really an isolated figure, a miraculous and monstrous apparition thrust into the even current of artistic movement. He really takes his place alongside Bernini as a great exponent of the Baroque idea in figurative art. And the Baroque idea goes back to Michelangelo. Formally, its essence both in art and architecture was the utmost possible enlargement of the unit of design. One can see this most easily in architecture. To Bramante the facade of a palace was made up of a series of storyes, each with its pilasters and windows related proportionally to one another, but each a coordinate unit of design. To the Baroque architect a facade was a single storey with pilasters going the whole height, and only divided, as it were, by an afterthought into subordinate groups corresponding to separate storeys.
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Church of the Gesu,, Rome</div>
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Bramante, Tempietto</div>
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Brunelleschi, San Lorenzo</div>
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Here Fry is quoting one of Heinrich Wolfflin's "Principles of Art History"<br />
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One might notice that he refers to the Baroque in architecture and sculpture, but not in painting Perhaps that’s because one of El Greco's contemporaries was so obviously responsible for the character of 17th century painting. Caravaggio was born 30 years after El Greco and died ten years before him.<br />
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When it came to sculpture and painting the same tendency expressed itself by the discovery of such movements as would make the parts of the body, the head, trunk, limbs, merely so many subordinate divisions of a single unit. Now to do this implied extremely emphatic and marked poses, though not necessarily violent in the sense of displaying great muscular strain. Such poses correspond as expression to marked and excessive mental states, to conditions of ecstasy, or agony or intense contemplation. But even more than to any actual poses resulting from such states, they correspond to a certain accepted and partly conventional language of gesture. They are what we may call rhetorical poses, in that they are not so much the result of the emotions as of the desire to express these </span><span style="color: yellow;">emotions to the onlooker.
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<span style="color: yellow;">When the figure is draped the Baroque idea becomes particularly evident. The artists seek voluminous and massive garments which under the stress of an emphatic pose take heavy folds passing in a single diagonal sweep from top to bottom of the whole figure. In the figure of Christ in the National Gallery picture El Greco has established such a diagonal, and has so a ranged the light and shade that he gets a statement of the same general direction twice over, in the sleeve and in the drapery of the thigh.
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El Greco, detail of "Agony in the Garden"</div>
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Bernini</div>
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Donatello</div>
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Bernini, David</div>
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Donatello, David</div>
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The above might serve as examples of the dramatic twisting that Fry found more prevalent in the seventeenth century sculpture than in the sixteenth.<br />
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Titian, Assumption (detail)</div>
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But then you have the above well known figure. It has a strong diagonal that emphasizes a twist even greater than El Greco's Christ in the garden. Painted in 1515, El Greco would have seen it when he arrived in Venice about fifty years later - and it's hard to deny its influence on his own Assumption painted in 1575.<br />
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<span style="color: yellow;">Bernini was a consummate master of this method of amplifying the unit, but having once set up the great wave of rhythm which held the figure in a single sweep, he gratified his florid taste by allowing elaborate embroidery in the subordinate divisions, feeling perfectly secure that no amount of exuberance would destroy the firmly established scaffolding of his design.
Though the psychology of both these great rhetoricians is infinitely remote from us, we tolerate more easily the gloomy and terrible extravagance of El Greco’s melodrama than the radiant effusiveness and amiability of Bernini’s operas.</span><br />
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Written two years after WWI and the Influenza epidemic - total 34 million fatalities worldwide - it’s not surprising that many would prefer the gloomy to the ebullient.<br />
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Bernini, St Therese</div>
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The expressive angularity of the drapery above does resemble El Greco.</div>
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<span style="color: yellow;">But there is another cause which accounts for our profound difference of feeling towards these two artists. Bernini undoubtedly had a great sense of design, but he was also a prodigious artistic acrobat, capable of feats of dizzying audacity, and unfortunately he loved popularity and the success which came to him so inevitably. He was not fine enough in grain to distinguish between his great imaginative gifts and the superficial virtuosity which made the crowd, including his Popes, gape with astonishment. Consequently he expressed great inventions in a horribly impure technical language. El Greco, on the other hand, had the fortune to be almost entirely out of touch with the public - one picture painted for the king was sufficient to put him out of court for the rest of his life. And in any case he was a singularly pure artist, he expressed his idea with perfect sincerity, with complete indifference to what effect the right expression might have on the public.</span> <br />
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Fry must consider El Greco the artist apart from El Greco the entrepreneur whose studio produced multiple copies to sell to the public. Otherwise, the above is nonsense.<br />
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<span style="color: yellow;">At no point is there the slightest compromise with the world; the only issue for him is between him and his idea. Nowhere is a violent form softened, nowhere is the expressive quality of brushwork blurred in order to give verisimilitude of texture; no harshness of accent is shirked, no crudity of color opposition avoided, wherever El Greco felt such things to be necessary to the realization of his idea. It is this magnificent courage and purity, this total indifference to the expectation of the public, that bring him so near to us today, when more than ever the artist regards himself as working for ends unguessed at by the mass of his contemporaries. It is this also which accounts for the fact that while nearly every one shudders involuntarily at Bernini’s sentimental sugariness, very few artists of today have ever realized for a moment how unsympathetic to them is the literary content of an El Greco. They simply fail to notice what his pictures are about in the illustrative sense.
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Was Fry ever sympathetic to Christian content in any artist from Giotto to Michelangelo?<br />
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<span style="color: yellow;">But to return to the nature of Baroque art. The old question here turns up. Did the dog wag his tail because he was pleased, or was he pleased because his tail wagged? Did the Baroque artists choose ecstatic subjects because they were excited about a certain kind of rhythm, or did they elaborate the rhythm to express a feeling for extreme emotional states ? There is yet another fact which complicates the matter. Baroque art corresponds well enough in time with the Catholic reaction and the rise of Jesuitism, with a religious movement which tended to dwell particularly on these extreme emotional states, and, in fact, the Baroque artists worked in entire harmony with the religious leaders.
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This would look as though religion had inspired the artists with a passion for certain themes, and the need to express these had created Baroque art.
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Luca Signorelli</div>
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<span style="color: yellow;">I doubt if it was as simple as that. Some action and reaction between the religious ideas of the time and the artists’ conception there may have been, but I think the artists would have elaborated the Baroque idea without this external pressure. For one thing, the idea goes back behind Michelangelo to Signorelli, and in his case, at least, one can see no trace of any preoccupation with those psychological states, but rather a pure passion for a particular kind of rhythmic design. Moreover, the general principle of the continued enlargement of the unit of design was bound to occur the moment artists recovered from the debauch of naturalism of the fifteenth century and became conscious again of the demands of abstract design.</span><br />
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"Debauch of naturalism of the fifteenth century" ? I like that accusation! - even if that's the kind of debauchery I like the most.<br />
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I'm not sure I grasp, however, Fry's notion of "enlargement of the unit of design" other than in the architectural facades to which he referred. Do both of the above Signorelli paintings exemplify it? Pattern does seem more dominant in the "Last Judgment". Is that because the artist tries to represent an inner, visionary space rather than the natural world ? In which case, design followed religious fervor, or at least dogma -- rather than a "pure passion for a particular kind of rhythmic design"<br />
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<span style="color: yellow;">In trying thus to place El Greco’s art in perspective, I do not in the least disparage his astonishing individual force. That El Greco had to an extreme degree the quality we call genius is obvious, but he was neither so miraculous nor so isolated as we are often tempted to suppose.
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El Greco's uniqueness seems best explained by an apprenticeship in a Byzantine style followed by self training in Venetian Mannerism.<br />
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<span style="color: yellow;">The exuberance and abandonment of Baroque art were natural expressions both of the Italian and Spanish natures, but they were foreign to the intellectual severity of the French genius, and it was from France, and in the person of Poussin, that the counterblast came. He, indeed, could tolerate no such rapid simplification of design. He imposed on himself endless scruples and compunctions, making artistic unity the reward of a long process of selection and discovery. His art became difficult and esoteric. People wonder sometimes at the diversity of modern art, but it is impossible to conceive a sharper opposition than that between Poussin and the Baroque. It is curious, therefore, that modern artists should be able to look back with almost equal reverence to Poussin and to El Greco. In part, this is due to Cézanne’s influence, for, from one point of view, his art may be regarded as a synthesis of these two apparently adverse conceptions of design. For Cézanne consciously studied both, taking from Poussin his discretion and the subtlety of his rhythm, and from El Greco his great discovery of the permeation of every part of the design with a uniform and continuous plastic theme. The likeness is indeed sometimes startling. One of the greatest critics of our time, von Tschudi—of Swiss origin, I hasten to add, and an enemy of the Kaiser—was showing me El Greco’s “Laocoon,” which he had just bought for Munich, when he whispered to me, as being too dangerous a doctrine to be spoken aloud even in his private room, “Do you know why we admire El Greco’s handling so much? Because it reminds us of Cézanne.”
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<span id="docs-internal-guid-68936e50-7fff-f0a1-5019-59f57d7b952f"><span style="font-family: "arial"; font-size: 11pt; vertical-align: baseline; white-space: pre-wrap;"><span style="color: red;">If Poussin was a model for Cezanne, he was one among many, neither the most important throughout his career nor of the same importance in its several aspects or phases; if,on the contrary, he is often represented otherwise, that is the product of an accumulation of distortions and projections whose origin is in his early commentators,not in the artist himself.</span>.. Theodore Reff, 1960, Journal of the Warburg and Courtauld Institutes. </span></span><br />
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I first heard about the Cezanne/Poussin connection about fifty years ago. Looking it up on the internet today, Cezanne is quoted as saying something about trying to “paint Poussin from nature”. As Reff pointed out, however, the origin of that quote is dubious. Regarding his connection to El Greco, Fry himself may have been the first to write about it. The claim that Cezanne “consciously studied both” is only a conjecture - though it might lead to a good discussion of how Cezanne differed from Renoir and Monet - though I would say that those artists also achieved a “permeation of every part of the design with a uniform and continuous plastic theme.” What great painter didn't?<br />
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<span style="color: yellow;">No wonder, then, that for the artist of today the new El Greco is of capital importance. For it shows us the master at the height of his powers, at last perfectly aware of his personal conception and daring to give it the completest, most uncompromising expression. That the picture is in a marvellous state of preservation and has been admirably cleaned adds greatly to its value. Dirty yellow varnish no longer interposes here its hallowing influence between the spectator and the artist’s original creation. Since the eye can follow every stroke of the brush, the mind can recover the artist’s gesture and almost the movements of his mind. For never was work more perfectly transparent to the idea, never was an artist’s intention more deliberately and precisely recorded.
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One problem with these final assertions is that the National Gallery no longer attributes the painting which Fry saw to El Greco. It has now been demoted to being the work of his assistants. A comparison with the version now in Toledo, Ohio might confirm that judgment.<br />
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Agony in the Garden, Toledo Art Museum</div>
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detail from the version in the National Gallery, London</div>
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detail from the version in the Toledo Art Museum</div>
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The drawing of the one was driven by strong inner purpose -- the other was driven by a less-than-successful attempt to copy it.<br />
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I first saw this version in an El Greco special exhibit at the Toledo Art Museum about 1990.<br />
We drove all morning from Chicago -- and the show was a big disappointment. The "Agony in the Garden", from the Toledo Museum’s own permanent collection, was the only piece I liked. I thought it weird - but still heads above the copies or damaged originals that made up the rest of that show.<br />
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Then I just saw it again last month in Chicago -- and I had the same reaction. It's the work of a master - but still it feels more like a Disney cartoon than a sacred narrative. The four equally sized but quite disparate corners troubled me as much as apparently they troubled the savior kneeling in the center.<br />
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But if we accept that feeling troubled is the intended theme - I suppose we could call the painting a success. As the full moon is rising, the central figure is in a very tight spot. His fearsome enemies are approaching, his friends have fallen sleep, a large and imposing angel is offering him the cup of suffering that he is scheduled to quench. From a medieval point of view, expressed by many of the images that follow, this is an accepted fact and all is good because it’s in the divine plan for the redemption of mankind.<br />
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But what once was considered factual now requires belief - so human psychology now has become an issue. How would we feel if we were put into that situation ? Eventually this more voluntary approach will see most people move away from the church. El Greco, as well as his intellectual friends on Toledo, must have realized that as the church demands faith (the Holy Office of the Inquisition), it proclaims the difficulty and need for it.<br />
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El Greco depicts Christ at the very instant he pivots from confusion and raises his eyes upward toward the divine messenger. In most of the earlier versions shown below, he has already made that decision. Tintoretto’s dreaming Christ is the exception.<br />
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It appears that theological controversy has accompanied this story from even the earliest centuries of the Church. Was Christ human enough to fear suffering on the cross? The gospels tell us that he was sweating blood and asked the Father to relieve him of his cup of suffering. But some scholars believe that those verses were added centuries after the gospels were first written. And most depictions of the scene show an angel offering a cup to Jesus, not the other way around.<br />
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Above is a glaring exception to that rule.<br />
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Duccio</div>
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Donatello</div>
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Ghiberti</div>
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Durer</div>
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Giovanni Bellini</div>
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Bellini and Mantegna introduce what we might call the magical -- </div>
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a special, attractive world where wonders may happen.<br />
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It would be a wonderful place to be,<br />
but it does not really exist,<br />
does it ?</div>
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Mantegna</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUt1cHDRGcU_Ii3jMoZAWdTmxd3lRstDv55C5V2qdb56cdDCOXGPvxdAhfkutteiToB2NgvmfX6xL-LCFsiJ_GTVYsjMNUwCb2cXdNTvkJh_vAvRzdG1Ze8t7yMYDV42cUGbDf/s1600/agony+mantegna+detail.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="725" data-original-width="800" height="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUt1cHDRGcU_Ii3jMoZAWdTmxd3lRstDv55C5V2qdb56cdDCOXGPvxdAhfkutteiToB2NgvmfX6xL-LCFsiJ_GTVYsjMNUwCb2cXdNTvkJh_vAvRzdG1Ze8t7yMYDV42cUGbDf/s320/agony+mantegna+detail.jpg" width="320" /></a></div>
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These details are so beautiful,</div>
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dream-like yet rock solid<br />
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Contemporary magical-realism<br />
is rather pathetic by comparison </div>
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Tintoretto</div>
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Now the psychology of the savior becomes an issue,</div>
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and the moment feels profound and heroic.<br />
He has not done it yet, but</div>
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we know that this gentle, powerful man<br />
will choose to do the right thing.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv-Lz5DDfcC17Ip73IrFkq5pp0MSOkHRUK1iFfi-UnSlc2CTCHrBT8Ua5oWO27U4lahmtRQp5XMuzQB8OI7xtRjmuiaYxtlgV91WETlWPbKnmqlpXtl1m4HG8_STm2FuwzckZm/s1600/agony+-+caravaggio.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="532" data-original-width="800" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiv-Lz5DDfcC17Ip73IrFkq5pp0MSOkHRUK1iFfi-UnSlc2CTCHrBT8Ua5oWO27U4lahmtRQp5XMuzQB8OI7xtRjmuiaYxtlgV91WETlWPbKnmqlpXtl1m4HG8_STm2FuwzckZm/s320/agony+-+caravaggio.jpg" width="320" /></a></div>
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Caravaggio</div>
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This is a different moment - the focus is on the human relationship between teacher and errant disciple.<br />
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<span style="text-align: start;">Caraciolo</span></div>
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A similar human relationship - even if an angel is one of the characters.</div>
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It looks like the angel is making an argument</div>
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and the savior needs more convincing.</div>
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It's done by an immediate</div>
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follower of Caravaggio.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggVKJINbcxBSC5v0yDppKqnZR04S9nHsRxgDrmWdCM7o6-ERBLuSrB9MasgFoOg6BLzTMKwdv60MHfpjmYbIxwd97fhfEUdeD2kxw17RzPuwcQuJ0f89R7aDwxNIWWaMKYmckA/s1600/agony+-+delacroix.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="486" data-original-width="600" height="259" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggVKJINbcxBSC5v0yDppKqnZR04S9nHsRxgDrmWdCM7o6-ERBLuSrB9MasgFoOg6BLzTMKwdv60MHfpjmYbIxwd97fhfEUdeD2kxw17RzPuwcQuJ0f89R7aDwxNIWWaMKYmckA/s320/agony+-+delacroix.jpg" width="320" /></a></div>
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Delacroix</div>
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I wasn't expecting to find Delacroix doing this subject.</div>
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The savior seems to be actively resisting his commission</div>
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which is closer to the gospels</div>
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than to several doctrinal interpretations.</div>
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A whole band of angels has become involved.</div>
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<h2 style="text-align: center;">
Elie Faure, "History of Art",</h2>
<h2 style="text-align: center;">
Book Four "Modern Art"</h2>
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Spain</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPRP8TurFF9_d8n7RYV4eUkvWSqLFcGboqD7acUnayeZ40reR_Vngp0yWtUNCfa135tNT5mkBORUydGT8Sscd7MGP_uEdSml8kt_laWtKiEGLmstG0nMrTdVQ7b9UUnlXsj71v/s1600/8C61DBC4-348F-4BB5-94C8-D9D0F988AFCD.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="528" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPRP8TurFF9_d8n7RYV4eUkvWSqLFcGboqD7acUnayeZ40reR_Vngp0yWtUNCfa135tNT5mkBORUydGT8Sscd7MGP_uEdSml8kt_laWtKiEGLmstG0nMrTdVQ7b9UUnlXsj71v/s320/8C61DBC4-348F-4BB5-94C8-D9D0F988AFCD.jpeg" width="211" /></a></div>
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Alonso Berruguete, "Abraham and Isaac", 1526-1532</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjURrP6_0EiwnVMxCruYa9NHW5zc6Mbwcdyh3-3kVlWFPEK0jZdW-h1jH-shJV1y09zgmBpsxAdp44vS5zwaHIWA98P2rYlNPVJuhv24gMLh-5GtxlLNxNaaNhrANTuuS_osGIh/s1600/7DF149FF-B458-4D3B-A794-EC5A283911ED.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="800" data-original-width="685" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjURrP6_0EiwnVMxCruYa9NHW5zc6Mbwcdyh3-3kVlWFPEK0jZdW-h1jH-shJV1y09zgmBpsxAdp44vS5zwaHIWA98P2rYlNPVJuhv24gMLh-5GtxlLNxNaaNhrANTuuS_osGIh/s320/7DF149FF-B458-4D3B-A794-EC5A283911ED.jpeg" width="274" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPS1g5DOX22q6I-XI1k5tkGGVyKo03obc12jWqVrwNepxj0fOQBoa5UMZftaqpO42wB-PFd3zDST60nkloDFOLPGJrtJxOpVlvTrv3FbqBTyq0zU81lGCazaLvOfTVbP0tWL6R/s1600/59AA936C-18EF-4287-A847-ABB9F3773C9A.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="679" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPS1g5DOX22q6I-XI1k5tkGGVyKo03obc12jWqVrwNepxj0fOQBoa5UMZftaqpO42wB-PFd3zDST60nkloDFOLPGJrtJxOpVlvTrv3FbqBTyq0zU81lGCazaLvOfTVbP0tWL6R/s320/59AA936C-18EF-4287-A847-ABB9F3773C9A.jpeg" width="271" /></a></div>
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Berruguete, Ecce Homo, 1525</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ3A0ef-VQVLYvxLdV4JxCWn-6n8HrfmqxRdEvrloOaI0ABrg23kotipvugDGBjFwK3Pc45HtkV9DMkgCz7uVgmzA15GnUwSGWkq-i77VS7ibKrOGnr9kUEnjpfTjzlzdbQ_0B/s1600/69E635D8-D7A0-4547-A64D-4B4074352129.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="493" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ3A0ef-VQVLYvxLdV4JxCWn-6n8HrfmqxRdEvrloOaI0ABrg23kotipvugDGBjFwK3Pc45HtkV9DMkgCz7uVgmzA15GnUwSGWkq-i77VS7ibKrOGnr9kUEnjpfTjzlzdbQ_0B/s320/69E635D8-D7A0-4547-A64D-4B4074352129.jpeg" width="197" /></a></div>
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I was introduced to Faure's "Spirit of Forms" about fifty years ago - but even way back then, he was already passé. He was a physician who wrote about art -- not a professional academic. And his history of art was more like a history of European civilization than a history of style and art theory.<br />
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His project was organized into four volumes - of which the last he called "Modern" and it went all the way back to the sixteenth century in Holland, Flanders, and Spain. (16th Century artists from Italy, like Michelangelo and Titian, were included in his volume about the Renaissance)<br />
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The chapter on Spain began with the above sculptor, who, by the way, had a solo exhibit at the National Gallery in February of this year (his first anywhere outside of Spain). Perhaps his reputation is now ascending. It looks like he deserves it.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhomt7jM-pbNrAqYxK12QHcYn2lPQZoh7A_tVExw3R0EoX-x8Wj7Z2I9-JiFo9v55uP3LMXKgj-oDDqtzFRI1OdS9jj_QDmqJwt9Cf-MbdneGLX3O14twcfUa823ixAgwIFzzMk/s1600/Luis_de_Morales_-_Piet%25C3%25A0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1050" data-original-width="808" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhomt7jM-pbNrAqYxK12QHcYn2lPQZoh7A_tVExw3R0EoX-x8Wj7Z2I9-JiFo9v55uP3LMXKgj-oDDqtzFRI1OdS9jj_QDmqJwt9Cf-MbdneGLX3O14twcfUa823ixAgwIFzzMk/s320/Luis_de_Morales_-_Piet%25C3%25A0.jpg" width="246" /></a></div>
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Luis De Morales, Pieta, 1560</div>
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<br />
This is the artist whom Faure mentioned just before discussing El Greco.<br />
<br />
The sentimental quality reminds us that when El Greco went to Toledo, he began doing Spanish paintings, just as he became an Italian painter when he lived in Rome.<br />
<br />
<br />
Here is the discussion of El Greco - beginning with an historical setting:<br />
<br />
<br />
<br />
<span style="color: yellow;"><br /></span>
<span style="color: yellow;">Philip II was certainly not capable of raising his
funereal piety to the level of the passion which filled the
little church in Toledo with faces made livid by
the rush of blood to the heart, and with eyes of fever
and of wild adoration, and with bony hands all lifted
toward heaven. Otherwise, something great could
have resulted from his meeting with Greco. When
Theotocopuli arrived in Toledo, hardly twenty years
had elapsed from the time that Ignatius of Loyola,
his thigh broken and re-broken, had dragged himself to
the altar of the Virgin to lay his sword upon it. Don
John of Austria was nailing the banner of Christ to
the topmast of the vessels which he was to lead to
Lepanto. Teresa of Avila had just finished burning
the last ashes of her flesh. For forty years she had
welcomed the flame of the south, the scorching of the
rocks, the odor of the orange trees, the cruelty of the
soldiers, the sadism of the executioners, and the taste
of the Host and of wine in order to torture and purify,
in the fire of all her senses turned back toward her
inner life, the heart she offered to her divine lover.
Within the country, the Holy Office never allowed the
fire to die out around any stake. Abroad, the captains,
dressed in black, led their lean men, fed on gunpowder, to fight, rosary in hand, against the Reformation. The Duke of Alba deluged Flanders with fire
and blood. The flames of torture and of battles at-
tested, over all the earth, the fidelity of Spain to her
vow. </span><br />
<br />
<br />
And then there is the physical setting of the regional landscape:<br />
<span style="color: yellow;"><br /></span>
<span style="color: yellow;">The Cretan, who still saw in the depths of his memory
the red and narrow gleam lighting up the icons in the
orthodox chapels and whom Titian and Tintoretto
had initiated into painting in their Venice, where the
bed of purple and of flowers was already prepared for
royal deaths, brought into this tragic world the fervor
of ardent natures in which all the new forms of sensuality and of violence enter in tongues of fire. In reality,
this young man of twenty-five years was old in his
civilization, a thing full of neuroses centuries old, and
subjugated by the first shock of the savage aspect of
the country in which he was arriving and by the
accentuated character of the people amid whom he
was going to live. Toledo is made of granite. The
landscape round about is terrible, of a deadly aridity,
with its low bare hills filled with shadow in their hollows, with the rumble of its caged torrent, and with
its huge trailing clouds. On sunny days it shines with
flame, it is as livid as a cadaver in winter. Only occasionally and slightly is the greenish uniformity of the
stone touched by the pale silver of the olive trees, by
the light note of pink or blue from a painted wall.
But there is no rich land, no leafy foliage: it is a fleshless skeleton in which nothing living moves, a sinister
absolute where the soul has no other refuge than
the wild solitude or cruelty and misery as it awaits
death.
</span><br />
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<div style="text-align: center;">
"Tongues of fire" : --- What contemporary art historian</div>
<div style="text-align: center;">
would dare to use such language?</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
Regarding hot arid deserts -- </div>
<div style="text-align: center;">
I have traveled through some - though I can't remember</div>
<div style="text-align: center;">
having thoughts of cruelty or misery or waiting for death. </div>
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<div style="text-align: center;">
And now we get a discussion of "The Burial of Count Orgaz"</div>
<br />
<span style="color: yellow;">With this pile of granite, this horror, and this somber
flame, Greco painted his pictures. It is a terrifying
and splendid painting, gray and black, lit with green
reflections. In the black clothing there are only two
gray notes, the ruffs and the cuffs from which bony
heads and pale hands come forth. Soldiers or priests
— it is the last effort of the Catholic tragedy. Already
they wear mourning. They are burying a warrior in
his steel, and now look only to heaven. Their gray
faces have the aridity of the stone. Their protruding
bones, their dried skin, and their eyes, deeply sunken in
their hollow orbits, look as if they were seized and
shaped by metal pincers. Everything which defines
the skull and the face is pursued over the hard surfaces,
as if the blood no longer coursed through the already
withered skin. One would say that a cord of nerves
went forth from the vital center and was drawing the
skin toward it. Only the eye is burning and fixed,
expressing the will to reach the fire of death by dint of
rendering life sterile. One follows the glance inward,
it leads to the implacable heart. The mouths are like
slits. The hair is thin through fasting, asceticism, and
the slow asphyxiation rising from braziers burning in
closed rooms. The wind of the desert seems to have
passed over the scene.
</span><br />
<span style="color: yellow;"><br /></span>
<span style="color: yellow;"><br /></span>
<span style="color: yellow;"><br /></span>
<span style="color: yellow;">When the red robe flooded with gold and the golden
miter of a bishop spread forth, on backgrounds uniformly gray and black, the sumptuous memories brought back from Venice and the Orient, one would
say that the painter was playing with his power of
controlling the voices of the world in order to give more
accent to the dull splendor of the gray faces, and to
the harmonies of death and dust which mount like a
hymn to the silent joy of offering in sacrifice to the
divine spirit of life all the joys which it spreads before
us. Remorse at having been born pursues the painter
until the end, but when he expresses it in his art, the
significance which it takes on avenges him for his
terrors. Whatever the elements of the higher equilibrium which a great artist pursues — almost always unknown to himself — whether the most completely
purified mysticism or the most violent sensualism guides
him, he is not a great artist unless he realizes through
them those mysterious symphonies in which both the matter and the soul of life seem present and mingled forever with all eternity. It is not necessary that above Greco's groups, spectral angels of superhuman
size should arise, or that, behind his drooping Christ
there should be enormous grayish clouds which isolate
Him from the universe; the somber glow is everywhere,
in the raised foreheads, the hollow orbits, the arid
earth, and the habits of black velvet. It is in him, the
ardent center of all these things, a profound and living
poem fashioned by the encounter of obedience and
liberty, of the broad and voluptuous world whence he
comes with the harshest soil and the most tragic people of Europe, of the severest spirit of western Catholicism with completely disordered memories of Eastern orthodoxy.
</span><br />
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<br />
It's likely that Faure traveled to Toledo and saw the actual 12x16 -foot painting -- while all that I've seen is reproductions. The overall effect of those small images is rapturous for me - so I'm guessing that the full sized original in a dark, ancient stone church would feel even more so.<br />
<br />
But concerning some details -- I feel confidant that the faces of those men attending the funeral are <i>not characterized by</i> : "<span style="color: yellow;">Their protruding bones, their dried skin, and their eyes, deeply sunken in their hollow orbits, look as if they were seized and shaped by metal pincers. Everything which defines the skull and the face is pursued over the hard surfaces, as if the blood no longer coursed through the already withered skin."</span><br />
<br />
<br />
<br />
On the contrary, I don't see any eyes "deeply sunken in their hollow orbits". This feels like a lively, varied group of middle aged men -- all of them subdued -- as appropriate for the occasion - but some more wise or wistful or hopeful or compassionate than others. . The two friars on the left are even having a lively debate. And that's how they should look, right? The painting was commissioned by the parish priest in order to remind these living worthies of their duty - and their eternal reward - for donating cash and goods to his church. The painting was a kind of fund raiser. If you give large donations, St. Stephen and St. Augustine may show up at your funeral as well. And wouldn't that help your case as an angel carries your helpless little soul up to divine judgment ?<br />
<br />
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<br />
<span style="color: yellow;"><br /></span>
<span style="color: yellow;">Never did the Christian ideal express, with greater
anxiety, its impotence to divide life into two sections.
The spirit tries to tear itself away, but in vain. What
is beautiful in the divine forms is always borrowed from
the science he possessed of terrestrial form, and it
always returns to them.</span><br />
<br />
But the "Burial of the Count Orgaz" appears to me to be a counter example. The beauty in the lower, terrestrial sphere is the sharp, solid, life-like figure and portrait drawing. The beauty in the upper, celestial sphere is the abstract swirl of shapes and colors.<br />
<br />
<br />
<br />
<br />
<br />
<span style="color: yellow;">At the end of his life he painted
like one in a hallucination, in a kind of ecstatic nightmare, where the preoccupation with expressing the
spirit alone pursued him. Deformation appears in
his pictures more and more, lengthening the bodies,
attenuating the fingers, and hollowing the masks. His
blues, his winelike reds, and his greens seem lit by
some livid reflection sent to him from the near-by tomb
and the hell caught sight of from eternal bliss. He
died before realizing the form of the dream which
haunted him, perhaps because he himself was too old,
and no longer found in his hardened bones and in his
irritated and weak nerves the power he had possessed
for seeking, in love of the world's appearances, the
means of comparing and supporting his vision. </span><br />
<br />
<br />
He must be referring to the "Vision of St. John" at the Met. (the reproduction in the book is called 'The Temptation of St. Anthony") -- and the artist did indeed die before realizing all of its form.<br />
<br />
<br />
<br />
<span style="color: yellow;">And
yet, what an effort! When we enter one of those
Spanish churches where, on days of service, the gleam
of the tapers and the vapor of the incense make us
forget for a moment the horror or vulgarity of the
images of which we catch a glimpse, we must also
carry on with ourselves one of those combats which
leave us enervated and somewhat shaken with that
intoxication in which the ecstasy of the paradise
desired effaces the soul and the body of those who try
to forget. He alone could see arms lifted as if to raise
the weight of the heavens and to draw aside its veils.
Standing at the foot of the Cross, he alone was able to
pierce the shadow which rises from all sides like an
accomplice to hide the murder; and it is with a terrible
glance that he follows the phantom horsemen who
enter a hollow road. He alone has seen among those
who will to know no more of the earth, forms drawn
out as if in prayer, aspiring wholly toward something
higher, hands which seem prolonged into supernatural
lights, drooping and emaciated trunks, and also young
nude bodies which he cannot tear from the innocence
of life, but around which circles a phosphorescent glow
which comes no one knows whence.
</span><br />
<br />
<br />
<br />
Faure must be referring to the altar pieces still found in Toledo. I've never seen them.<br />
<br />
<br />
<br />
<span style="color: yellow;"><br /></span>
<span style="color: yellow;">At the remote origin of that invincible elegance which
never left him, however much he was gripped by the
need to express more than he could, one found the
Greek, the Greek of the forgotten ages, the Hellene.
The wraith of the gods which still wandered on the
shores of the southern sea had drunk a strong wine
from the golden cup of Venice and had permitted itself
to be carried along, still not entirely consumed even by
Greco, to the burning deserts of stone where the
aridity of things offers the mind no other avenue than
that of death. It was that wraith — it could not die, it
had survived the twelve centuries of constraint imposed by the degenerating Orient upon the Byzantine
images — over which one would say that there mounts a
long pale flame, like those wandering fires which dance
upon the marshes. It is the witness of the impotence
of genius to detach itself from its roots, and of the
majesty which it assumes when it consents to nourish
itself from them. Greco must have fasted and worn
sackcloth. He must have followed, with bare feet,
the processions across the powdered granite with his
ankles cut by shackles, bearing a heavy metal cross, and
masked with a monk’s hood in order not to have the
pride of his humiliation. He must have passed the
burning nights, when passion is compelled to roll in the
torture of voluntary chastity, so that in the morning
he might carry his exasperated strength into the everlivid faces intent on heaven and into the garments,
always black, which bear witness to our grief at having
lived. No matter. He had a daughter. He loved
children and women, and ever the burning shadow and
the bare landscape. His whole will to be superior to
life crossed and recrossed the powerful center of the
life which, when one has felt its burning, sends its lava
into death itself and the eternal shadows and the dust
of bones.</span><br />
<br />
<br />
Such flamboyant penance seems appropriate for a society as systemically cruel and predatory as the ethnic cleansing and culture-crushing of the 16th Century Spanish empire. It's quite far from the quiet piety of Mt. Athos whose traditions informed El Greco's early life.<br />
<br />
It's also quite far from most of El Greco's work -- including his portraits and sentimental devotionals - and even some of his last work -- like the rather whimsical Adoration of the Shepherds (Prado) with family self portrait.<br />
<br />
<span style="color: yellow;">Beyond existence, when our memory is burnt out,
there is, to be sure, nothing of us that remains. However, if somewhere there is a place where shadows
wander, if in some sinister valley there are cadavers
which stand upright and living specters which have
not yet lost their form, Domenico Theotocopuli alone,
after Dante, has entered there. One would say that
he is exploring a dead planet, that he is descending into
extinct volcanoes where ashes accumulate and a pale
half-veiled moon sheds its light. But all of that has
been seen by him. Spain presents such aspects under
the snow, in winter, or in the torrid days when the sun
has calcined the grass, when there is nothing more in
space than the vibration of silence coming from nowhere, to lay its deathlike weight upon the heart, and
when livid mirages and gloomy metallic lakes are formed
and effaced upon the seared horizon.
</span><br />
<br />
<br />
If any Spanish artist seems to have been to Hell and back -- I'd say it was Goya who lived through military occupation and civil insurrection.<br />
<br />
<br />
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<div style="text-align: center;">
********************</div>
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Here are some of El Greco's Spanish contemporaries. Like him, most studied in Italy. Many were born there. There are also artists coming from Flanders, Portugal, or Germany.<br />
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Diego de Aguilar, active 1587</div>
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Juan de Alfaro, 1668</div>
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Nicolas Borras, 1530-1610</div>
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Bartolomeo Carducci 1595</div>
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Luis de Carvajal 1531-1618</div>
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Eugenio Cajes (1574-1634) , 1600</div>
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Romulo Cincinato,1583</div>
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Romulo Cincinato</div>
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Francisco de Comontes, 1530-39</div>
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Juan Correa de Vivar, 1559</div>
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Juan Correa de Vivar, 1540-45</div>
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Andeas de Concha, 1550-1612</div>
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Vicente Juan Masip, 1562</div>
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<span style="background-color: #f2f2f2; color: #333333; font-family: "open sans" , sans-serif; font-size: 14px;">Baltasar Etxabe Orio, (c1558-c1623)</span></div>
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Juan Fernandez de Navarette (1526-1579 Toledo)</div>
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Pedro Orente, 1616</div>
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Francisco Pacheco, 1615</div>
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Juan de Penalosa, 1610</div>
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Blas de Prado, 1581</div>
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Cristobal Ramirez, d. 1577</div>
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Vicente Requena 1556</div>
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Jeronimo Rodriguez de Espinosa, early 17th century</div>
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Martirio Roelas, 1610-15</div>
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Alonso Sanchez Coello, 1588</div>
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Juan Sanchez Cotan, 1600-03, Toledo</div>
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Alonso Vasquez, 1608</div>
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Juan de Ucheda, 1603,4</div>
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Luis de Vargas, 1561</div>
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Francisco Venegas, 1590</div>
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Cristobal de Vera, c 1600</div>
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Juan De Villoldo, 1516-1551(Toledo)</div>
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Juan Zarinena, 1581</div>
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Sofonisba_Anguissola, 1573</div>
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With its flat, static, doll-like perfection,</div>
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I'm afraid that this is the kind of painting</div>
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The following is excerpted from “El Greco - Oriental Artist”, an essay published in the Art Bulletin of 1929. The author was August L. Mayer, a professional German art historian, student of Wolfflin. He is credited with introducing Wolfflin’s formalist approach to the study of Old master Spanish painting.<br />
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<span style="color: yellow;">That El Greco felt at home in Spain is partly due to his conscious or subconscious awareness of the ever present and perceptible connections, both superfidal and intrinsic,
between Spain and the Orient. It is true that the art of El Greco is not entirely consistent;
like others he reveals the conflict resulting from the intrusion of a strong and
definite personality into a developed and well established artistic tradition, at a great
period of European culture. We refer to his amalgamation of sensual and supersensual,
naturalistic and quite unnatural, finite and infinite. Of the true Greek sensitiveness to form there is little trace. So far as it is present it reveals the intermediation of North
Italian models. The thing that always stands out most conspicuously in El Greco is the
Oriental element, the bent toward that which is supersensual and unbounded, toward the
Oriental magic of space. El Greco achieves a certain supernatural abstraction of space like that of mosaics with gold ground, in which all the disturbing and aciddental features of
concrete space are smoothed over . Whenever in his works space is more exactly defined
for any reason, the artist., nevertheless, transforms the actuality, and endeavors to catch
the endless sequence characteristic of Oriental art.
The fundamental difference between the intuition of El Greco and that of the Spaniards,
using intuition in the widest sense to mean trained vision, apperception, and artistic
formulation by the imagination, can be shown by innumerable examples. We shall choose
only some of the more obvious and striking of these.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLL8eab7gQFtuHhyZCg4tc7EXRfaVRlZpDHOFbrG9Jy7EoT7UBBJtAtij3b1_pfL93z_xPr_WqS_xBNs1ZPIiGAv505iCbq9hBaOmHdg_VFMcy_z9JBMMI-FUY8Tqkd5vshil2/s1600/San_Bernardino_%2528El_Greco%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="424" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLL8eab7gQFtuHhyZCg4tc7EXRfaVRlZpDHOFbrG9Jy7EoT7UBBJtAtij3b1_pfL93z_xPr_WqS_xBNs1ZPIiGAv505iCbq9hBaOmHdg_VFMcy_z9JBMMI-FUY8Tqkd5vshil2/s320/San_Bernardino_%2528El_Greco%2529.jpg" width="169" /></a></div>
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El Greco, San Bernadino, 1603</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOTWW3SXxb3nzpS97jqSGDQRq9KVq-dUuJledaJkywMgPUrEeCAzXL5D9meJh8bSnNeQAzlXPL5PouO_HnhkbWceMljCrzxXxYTnWaVUUqhMGJPk8KTkBRPBzIgvtg5RXh0jPl/s1600/San_Bernardino_%2528El_Greco%2529.-detail.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="724" data-original-width="667" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOTWW3SXxb3nzpS97jqSGDQRq9KVq-dUuJledaJkywMgPUrEeCAzXL5D9meJh8bSnNeQAzlXPL5PouO_HnhkbWceMljCrzxXxYTnWaVUUqhMGJPk8KTkBRPBzIgvtg5RXh0jPl/s320/San_Bernardino_%2528El_Greco%2529.-detail.jpg" width="294" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJNpQUSkblI17bXpjH3geEXPkbd8GFm7UQxJUPFbY8SJBF4xLIzMzQrckRoS3WsJWOQv5EGA_02R_zu_kz1QXtsptD7OxM3vgL6eyoCBjxxJDniLI2E5LTef8jm4WFZ8ChZ2ov/s1600/bernadino+-jacopo+bellini.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="800" data-original-width="560" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJNpQUSkblI17bXpjH3geEXPkbd8GFm7UQxJUPFbY8SJBF4xLIzMzQrckRoS3WsJWOQv5EGA_02R_zu_kz1QXtsptD7OxM3vgL6eyoCBjxxJDniLI2E5LTef8jm4WFZ8ChZ2ov/s320/bernadino+-jacopo+bellini.png" width="224" /></a></div>
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San Bernadino, Jacobo Bellini, 1450-55</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWuh5xom8U_NoF2i02NND399joxz6VrvpO-JSzJcsH1AamY2xdX7NinDxteWpKK4eZ3STaHrsVzpbZDeaH62kLv2XD3rDIt_Xi1iZvdDE790Cn9zEkxKt9LRypHxCqXWPfRoRX/s1600/san+bernadino+mantegna.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="285" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWuh5xom8U_NoF2i02NND399joxz6VrvpO-JSzJcsH1AamY2xdX7NinDxteWpKK4eZ3STaHrsVzpbZDeaH62kLv2XD3rDIt_Xi1iZvdDE790Cn9zEkxKt9LRypHxCqXWPfRoRX/s320/san+bernadino+mantegna.jpg" width="228" /></a></div>
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San Bernadino, Mantegna, 1450</div>
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I may drive past Saint Bernardine's (the Catholic church in Forest Park) several times a week, but it's namesake is not my favorite saint. He was a popular street preacher who railed against the usury of Jews, the Sodomy of Gays, and wealthy people dressing too luxuriously. Contemporary paintings depict him as a desiccated old man.<br />
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150 years later, El Greco depicted him as a gentle, dreamy, starry eyed youth - with an emphasis on the three bishop hats that he was offered but turned down.<br />
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A wonderful transformation! If this were the only El Greco painting that I ever saw -- I would love him just for making it.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqsAR1VeCcIkSY6_-S59X5a7-hCVuIDJJtewEMpFN2dwNEFVb_5_YVh6yIFJ_9X66ehV9nmDpEYwAIbn0ROyP9oa0_VqqH_wAzIGn5hknkLascPRf9Eaf84A-kIsIMBewFwpWG/s1600/zurbaran++francis+detail.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="729" data-original-width="800" height="291" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqsAR1VeCcIkSY6_-S59X5a7-hCVuIDJJtewEMpFN2dwNEFVb_5_YVh6yIFJ_9X66ehV9nmDpEYwAIbn0ROyP9oa0_VqqH_wAzIGn5hknkLascPRf9Eaf84A-kIsIMBewFwpWG/s320/zurbaran++francis+detail.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_ixJxa1_FAHI1d5lfKEpeqV22zoVYyJf9wvShiwfykysSkzpmcXssi9-D3MGU_A2I-xaWas2KDYibEhZ0gHucQfPoZy8Es_dv06pUgRckF053qWlqNajspK-iLMv4I0CPuD37/s1600/zurbaran++francis.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="485" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_ixJxa1_FAHI1d5lfKEpeqV22zoVYyJf9wvShiwfykysSkzpmcXssi9-D3MGU_A2I-xaWas2KDYibEhZ0gHucQfPoZy8Es_dv06pUgRckF053qWlqNajspK-iLMv4I0CPuD37/s320/zurbaran++francis.jpg" width="194" /></a></div>
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Zurbaran, Saint Francis (vision of Pope Nicholas) , 1640</div>
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<span style="color: yellow;">Let us begin by making a comparison between El Greco's St. Bernardino of Siena and
Zurbaran's St. Francis, which exists in a number of versions and represents the saint as
Pope Nicholas once came upon him when visiting his burial place. With Zurbaran all
emphasis is laid on bringing out the solidity of the apparition. The holy monk is made
tangible; though dead he is given an uncanny life. There is about him the same vitality,
the same uncanny vividness, the same appeal to the senses (with the peculiar combination
of the rawest visual and the weirdest imaginative material), the same enlivenment of the
unusual, and the same elevation of almost gruesome objects into sublime art, that we
encounter in the works of Velasquez and Goya. The naturalism that underlies this representation
of Zurbaran's runs through the whole of Spanish mysticism. The divine is brought
home to us and made objective: not only can we see and touch it, but we can almost even
smell it. In the case of El Greco the contrary is always found. His St. Bernardino has only
approximate human form. Not merely in a physical sense does the saint's head rise toward,
even project into, heaven: the body is nothing, the intellect everything. But precisely
where the Spanish painters had appropriated an Oriental element, namely, that Biblical
trait of moral athleticism involved first in the prophets' mission and later in the saints'
and martyrs' championship of God, El Greco as a Greek is the true descendant of his
great philosophical forefathers and prefers contemplation and intellectual values-this
contemplation, to be sure, is not without the mystic Oriental coloring injected by the
Neo-Platonists. The same line of criticism holds good for E1 Greco's representations of
St. Francis, which a whole world separates from the St. Francises of Zurbaran or from the
St. Jeromes of Ribera. In these comparisons it may be that the Spaniards' pictures seem
more banal, but in the long run they prove more vital than the coolly intellectual works
of El Greco.
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Though El Greco's Saint Bernardine has his head in the clouds - he hardly feels intellectual. He's a dreamer - not a thinker. And he seems to be quite approachable - especially to children.<br />
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Zurbaran's St. Francis is a ghostly apparition - a bit weird and scary - and wonderfully effective. The surface is both tangible and unreal.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8ErIv4sZsn1U51xD55g733zYaESIPotmpK3I9KDUWX3NS4xGTgsjQLekjxCjQ6w3_UKa5m-Su9iu2mFqg-WLXVYu2bA9Pghz6VK-0X_3fspIs-YSmd5C4MoVSmbnjdOMTJsrH/s1600/ribera.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="631" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8ErIv4sZsn1U51xD55g733zYaESIPotmpK3I9KDUWX3NS4xGTgsjQLekjxCjQ6w3_UKa5m-Su9iu2mFqg-WLXVYu2bA9Pghz6VK-0X_3fspIs-YSmd5C4MoVSmbnjdOMTJsrH/s320/ribera.jpg" width="252" /></a></div>
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Ribera, St. Jerome, 1637</div>
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Wow ! What a wonderful painting -- and the artist did 44 variations on this theme.<br />
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<img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiinKxSWvPvZn_Uu5vxoGdXnx6wpJ5d5t64d8Z7jY5a-3Y18wlYnK5vlvr4UsyHQzlCITl_CuOhbtPanfaZMwCZTjF7NcsH_DCiUvfyCFZi0cSg9bpIEFl-qgjoR946wPEM9UPW/s320/money+changers5.jpg" /><br />
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<span style="color: yellow;">It is not surprising that the theme of the Expulsion of the Money Changers from the
Temple had a special interest for El Greco throughout his life. For his temperament
nowhere expressed itself so completely as in this scene with its agitated crowd. Although
in the earliest versions the artist approaches the European, particularly the Venetian,
sensuous treatment of the subject, later on he gives only the quintessence, the deep content
of the episode, and, almost omitting to paint the earthly details and almost restricting
himself to symbols, he makes the principal feature the overwhelming triumph of the spirit
over material things</span>.<br />
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It certainly is an agitated - and gesturing - crowd ---- suggesting life on a busy city street.<br />
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And the need for violence to get that unruly crowd to attend to higher things.<br />
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Perhaps that's not a message that the Spanish church needed to hear at that time.<br />
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<span style="color: yellow;"><br /></span>
<span style="color: yellow;"> It is also symptomatic that in his late years El Greco should have
chosen, precisely in the case of this subject, to work on a larger scale, as in the monumental
picture of the Brotherhood of the Sacrament at S. Gines in Madrid.
The genre-like details of Western, mainly Venetian, origin are reduced to a minimum in
the later versions of tbe Expulsion, and are given an entirely new symbolic meaning. In
the same way, in the other late works of El Greco, the details of genre tend to disappear.
This is extremely significant because El Greco's life extended into the very time when,
with the growth or the new naturalism, a special interest in genre-like treatment
arose.
Before we pursue further the comparison of El Greco with Zurbaran and other Spaniards
of the epoch of great national art in Spain, let us consider the relationship of El Greco to his
Spanish contemporaries. We wish to anticipate and meet the possible objection that
comparison of El Greco with Zurbaran is not exactly permissible because the two artists
belong to quite different stages in the general artistic development. Although, according
to my conception of the differences from generation to generation, the different stages
represented in this comparison play no such major part as the fundamental distinctions
of race, yet I recognize the difference of the art epochs represented by the two men
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjrQPA6XAn3gkdCipZBOEsEpbovgJj-Lbiyoh5dchwegMhuEKOSi_bzceoJIa9ToAvHfGgNq4Ase0gvSk6MpqEe5ci8KHj75mSQQQfFWllIEvAqxCbiQtyKVEjf6fxnn1jxZ-P/s1600/morales+ecce+use2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="798" data-original-width="714" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjrQPA6XAn3gkdCipZBOEsEpbovgJj-Lbiyoh5dchwegMhuEKOSi_bzceoJIa9ToAvHfGgNq4Ase0gvSk6MpqEe5ci8KHj75mSQQQfFWllIEvAqxCbiQtyKVEjf6fxnn1jxZ-P/s320/morales+ecce+use2.jpg" width="286" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnA8cDDboIepLIxQAXap8IM4S0NEEWzBDUcpm-NuyJaap1hBRyzAYCBD4KyRReLdPW2YsDsYhxJwe0MK_cgKX5mDSf2XS4n80A99FmQ3lQ1TW1e7cJrkNN9qkOnNkw02fj4tk6/s1600/morales+ecce+use.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="554" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnA8cDDboIepLIxQAXap8IM4S0NEEWzBDUcpm-NuyJaap1hBRyzAYCBD4KyRReLdPW2YsDsYhxJwe0MK_cgKX5mDSf2XS4n80A99FmQ3lQ1TW1e7cJrkNN9qkOnNkw02fj4tk6/s320/morales+ecce+use.jpg" width="221" /></a></div>
<div style="text-align: center;">
Luis de Morales, "Ecce Homo"</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBNl3Ozub3cwZmjzlFmvH7hTMInBrpZ9KUpYCCVbjHXbeIhQXD8n5uW32eO-GSrbqkjBkL19TkCamgcMCytiSUhRJjdaUWPVSKUuhUL8-qCELE54Sa23KjgEHcUj6hKX2VES0b/s1600/Espolio.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="760" data-original-width="745" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBNl3Ozub3cwZmjzlFmvH7hTMInBrpZ9KUpYCCVbjHXbeIhQXD8n5uW32eO-GSrbqkjBkL19TkCamgcMCytiSUhRJjdaUWPVSKUuhUL8-qCELE54Sa23KjgEHcUj6hKX2VES0b/s320/Espolio.jpg" width="313" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNMeTvo5i6yMaJa6jUo_irzBcI8eaaZhEYahVxA5Er_on9F_KvHX2BYmY8bO9HrPyd74flUzc-BMszOQfCbEHv5Wbux3OuJlrUWC63tXdNWxR0JlrVwpspHIXFB8fT9_LzZUPi/s1600/Espolio2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="473" data-original-width="575" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNMeTvo5i6yMaJa6jUo_irzBcI8eaaZhEYahVxA5Er_on9F_KvHX2BYmY8bO9HrPyd74flUzc-BMszOQfCbEHv5Wbux3OuJlrUWC63tXdNWxR0JlrVwpspHIXFB8fT9_LzZUPi/s320/Espolio2.jpg" width="320" /></a></div>
<div style="text-align: center;">
El Greco, "Espolio"</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhZZGdPLLtmS1pN2Zz3Eleg0GVi2c1ktZbWTdK9mmC_9aFcZWpUTTLCCK4lQ1qAoxhdBxUIQvCjS4jAYz5HOt7jDq6dQI7y8wAxbszYpSwE3RLF5c-ca_BQtkeGtFVrhXpZOnX/s1600/st+julian2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="642" data-original-width="651" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhZZGdPLLtmS1pN2Zz3Eleg0GVi2c1ktZbWTdK9mmC_9aFcZWpUTTLCCK4lQ1qAoxhdBxUIQvCjS4jAYz5HOt7jDq6dQI7y8wAxbszYpSwE3RLF5c-ca_BQtkeGtFVrhXpZOnX/s320/st+julian2.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcEv399YPsHO5CMYb3a52pMef5Aq6Rjr9WcUkojcnnSDB690FO9V1PEqwBkF-yoJedO4dhkjb7OiG42nZ9kLWXfRyniJ1LG1oLYLpl5808YqIGpCZRATFAb2CENyvrNKPGFHcQ/s1600/st+julian.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="487" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcEv399YPsHO5CMYb3a52pMef5Aq6Rjr9WcUkojcnnSDB690FO9V1PEqwBkF-yoJedO4dhkjb7OiG42nZ9kLWXfRyniJ1LG1oLYLpl5808YqIGpCZRATFAb2CENyvrNKPGFHcQ/s320/st+julian.jpg" width="194" /></a></div>
<div style="text-align: center;">
El Greco, St. Julian</div>
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<span style="color: yellow;">The Spanish artist who corresponds in a certain sense to El Greco is Luis de Morales.
That he cannot measure up to the Greek in the endowments of genius and of artistic
temperament is unimportant in this connection, as is the circumstance that he is a little
older. Morales is the principal representative of the Spanish Mannerism of the sixteenth
century, the Spanish proto-Baroque. Here we can make this as a mere assertion. We still
have to discuss later, and at some length, the character of Mannerism as the European
style of the sixteenth century. Morales, almost exclusively a religious painter, a creator of
Spanish types of artistic and cultural importance, not only an artist of unalloyed seriousness
but one of the most outstanding representatives of Spanish melancholy, belongs absolutely
to the company of European Mannerists in his choice of format, method of filling the area,
proportions, exaggeration of movement, and striving for elegant posture; and he shows,
in his own way, his Milanese education, and, especially, his intimate relations to certain
Netherlanders. He has that smoothness of form and that definiteness of expression characteristic
of all European Mannerists except Tintoretto, who does occupy a unique
position. Particular in contrast to El Greco, Morales' clarity and definiteness of statement,
and, above all, genuinely Spanish sculpturesqueness are very striking. A comparison of
his Ecce Homo with the middle section of El Greco's Espolio, or of his Saint with Donor with El Greco's St. Julian with Donor (Prado, from the Errazu collection),</span><br />
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Exuberance versus melancholy. There's nothing masochistic about El Greco's Christ</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijaAmAjm9e3s71l3mEMKe35bzpnrKxwrQXtud7rVL8aYJ8Wi7BOWvJLF4f_LHdaaqvchtexCU1ZpJq3MJtw_PMJMcx5tgpfUew106T2lJYur3EXaSqhKfoP3rorxqcLqCfW5A7/s1600/DOLOROSA+-+EL+GRECO+-B.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="533" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijaAmAjm9e3s71l3mEMKe35bzpnrKxwrQXtud7rVL8aYJ8Wi7BOWvJLF4f_LHdaaqvchtexCU1ZpJq3MJtw_PMJMcx5tgpfUew106T2lJYur3EXaSqhKfoP3rorxqcLqCfW5A7/s320/DOLOROSA+-+EL+GRECO+-B.png" width="213" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh22jGJiha5tq9z6_J2D-OPx22DM6tKYwwzXmxVdaQVxSsezo38Ie9eLoH1jCjnQUQU-FAzEdjoU5XQStcxIEgDrGIJb6oPHu5Em6GquIs7ARU-R9QRlZ5O_aQ6qwoXuiQ8Tz2o/s1600/DOLOROSA+-+EL+GRECO.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="800" data-original-width="551" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh22jGJiha5tq9z6_J2D-OPx22DM6tKYwwzXmxVdaQVxSsezo38Ie9eLoH1jCjnQUQU-FAzEdjoU5XQStcxIEgDrGIJb6oPHu5Em6GquIs7ARU-R9QRlZ5O_aQ6qwoXuiQ8Tz2o/s320/DOLOROSA+-+EL+GRECO.jpg" width="220" /></a></div>
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Above are two variations of El Greco's Dolorosa. </div>
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Both are now attributed to his workshop.</div>
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But the one in green has so much more formal sensitivity.</div>
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The one in blue belongs in a tourist gift shop.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx06Zio52NS_LXCuTw_o6rzk5F5qTwvjLLpG5eOo8PIrwmwNO5bnS1fBe9twwZFhp3MMQ_EUsU63bC3eTEjDImzRim2YYn-_w1xjxyZWFxO_P8RkGeDMJQPQ0GyVVptcMYFHA2/s1600/DOLOROSA+-+EL+GRECO-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="725" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx06Zio52NS_LXCuTw_o6rzk5F5qTwvjLLpG5eOo8PIrwmwNO5bnS1fBe9twwZFhp3MMQ_EUsU63bC3eTEjDImzRim2YYn-_w1xjxyZWFxO_P8RkGeDMJQPQ0GyVVptcMYFHA2/s320/DOLOROSA+-+EL+GRECO-2.jpg" width="290" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFIhL_e7c_w7dNqkAQqM9LCaJELHJLsHUP8Re-2hvjnFD9uc5sxWFljWYrg-wfl2JzuRePryO7X5cFBH746zVwF-RXfzDI5iXIW9GebNjbvla0yl9QjUH-3XxYG9xYFor1KIEC/s1600/DOLOROSA+-+MORALES2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="729" data-original-width="597" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFIhL_e7c_w7dNqkAQqM9LCaJELHJLsHUP8Re-2hvjnFD9uc5sxWFljWYrg-wfl2JzuRePryO7X5cFBH746zVwF-RXfzDI5iXIW9GebNjbvla0yl9QjUH-3XxYG9xYFor1KIEC/s320/DOLOROSA+-+MORALES2.jpg" width="262" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHOjMg_4BxrW0ofegFvKKIZudaU56miNolWYbEkBIi6FgrOC0Iqh-tnWor-p9HnblgtJKV7pSIuoXrangPaXEhrPJLBobs3UBnLyvtNOqNPyQ8JNDavEfx_0nBpqWncz9BikGA/s1600/DOLOROSA+-+MORALES.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="556" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHOjMg_4BxrW0ofegFvKKIZudaU56miNolWYbEkBIi6FgrOC0Iqh-tnWor-p9HnblgtJKV7pSIuoXrangPaXEhrPJLBobs3UBnLyvtNOqNPyQ8JNDavEfx_0nBpqWncz9BikGA/s320/DOLOROSA+-+MORALES.jpg" width="222" /></a></div>
<div style="text-align: center;">
Luis De Morales</div>
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<span style="color: yellow;"><br /></span>
<span style="color: yellow;">..... or again of his Dolorosa with El Greco's, shows the whole difference between Spanish religious feeling and
that of El Greco, between true Spanish composition and that of the Greek.</span><br />
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If I had to pick a nationality for the Morales version, I would say it has the sentimentality of the southern German areas, like Swabia or Bavaria. The El Greco version, however, feels more Spanish to me than either Greek, German, Flemish, or Italian.<br />
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And as demonstrated by the list of El Greco's Spanish contemporaries that I showed above - Spanish painting in that time was quite diverse.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfh4RKkyT3GXm5VWV44ELoOPIPzGQ7aAQ-W0MD_cdRO6G-EXxufAy00hlUBIIdtz6H8x68DerZf2S5gzfUKkLptw1WkuACt69sHcKtXLHjdQDFgxcgCC30wrRcMxbrcfnuOcoa/s1600/orgaz.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1024" data-original-width="836" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfh4RKkyT3GXm5VWV44ELoOPIPzGQ7aAQ-W0MD_cdRO6G-EXxufAy00hlUBIIdtz6H8x68DerZf2S5gzfUKkLptw1WkuACt69sHcKtXLHjdQDFgxcgCC30wrRcMxbrcfnuOcoa/s320/orgaz.jpg" width="261" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcI-OdJke5-c_e_EvRKiq9aCsbWFUGTqzNyfuR_3yimieT1LnOaPNV5tflz9Pvgzi23_5voxS_Zysd2wp34ZuEWQwClp-7uRZAyvorIJUtxwSPcjPyWePVPB9cv009X5A10Lt-/s1600/zurbarn+bonaventure.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="688" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcI-OdJke5-c_e_EvRKiq9aCsbWFUGTqzNyfuR_3yimieT1LnOaPNV5tflz9Pvgzi23_5voxS_Zysd2wp34ZuEWQwClp-7uRZAyvorIJUtxwSPcjPyWePVPB9cv009X5A10Lt-/s320/zurbarn+bonaventure.jpg" width="286" /></a></div>
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Zurbaran, St. Bonaventure Lying in State, 1629</div>
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The Burial of Count Orgaz has a certain Spanish flavor in its melancholy, and its portraits
are undeniably striking reproductions of real Spanish types; but, taken either as a
whole or in detail, the picture is not Spanish in the same way as Zurbaran's St. Bonaventura
on His Deathbed in the Louvre. Nor do we refer to the differences that are really due to
difference of period. There are other essential differences that transcend the century and
remain constant through all periods. We recognize in Zurbaran's work the greater
naturalism and the entirely earth-bound individualism of the Spaniard, who tries to get a
thrilling and human expression, based on the simple phenomena of sense, and who reveals
an objectivity to which any miracle is an exceptional but thoroughly comprehensible
proceeding. El Greco's complexity and subtlety, the gentility and refinement of Greek
and other Eastern culture, are not to be found in any Spanish painter. In this connection,
too, be it remembered that nine-tenths of the Mudejar decorative work executed by
Spanish Christian artists represents a vulgarization of the original Arabic.
Weisbach has correctly pointed out that El Greco occupied a much debated, but unique
and exotic position in Spain. Then, however, be goes on to say that "the spiritualistic in
his art was brought to full maturity partly through his own endowments, partly through
his contact with the religious feeling of Spain." I believe I have already demonstrated
that the religious spirit of Spain had nothing in common with El Greco's. It is no cause for
wonder that, on account of the artistic license be allowed himself in the composition of
religious themes, El Greco came into conflict with the Spanish theologians. Take for
example the lawsuit over the three Maries that in the Espolio the artist put, contrary to the
Bible, right beside the action. That a large audience in Spain, nevertheless, took so keen
an interest in the religious painting of El Greco is because the intensity of his pictures for
the Church was felt, and they were therefore accepted, with all their strangeness, as the
Netherlandish pictures had been accepted a century before.
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Death appears more final in Zurbaran -- more transitory in El Greco.<br />
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<br />chris millerhttp://www.blogger.com/profile/09575033275184403015noreply@blogger.com0tag:blogger.com,1999:blog-19047760.post-59325826262645295952020-02-23T10:33:00.000-06:002020-02-25T18:40:37.676-06:00Arts Club of Chicago - Members Exhibit<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhenqmw9XzGhGyBXLc2uxy8g5zfA2FJoHKE1E6YfViFU-mNcdSHC5nBpad9fte2mf2qffv1gFwVre8OjLGxdPctXFishJaaHxR9IDYV1rFqGyXGysb0jhKJcvM1lxQ6cXW3QHom/s1600/6C345CD3-5A9F-4504-9AE6-BDF6C86BEB14.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="800" data-original-width="621" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhenqmw9XzGhGyBXLc2uxy8g5zfA2FJoHKE1E6YfViFU-mNcdSHC5nBpad9fte2mf2qffv1gFwVre8OjLGxdPctXFishJaaHxR9IDYV1rFqGyXGysb0jhKJcvM1lxQ6cXW3QHom/s320/6C345CD3-5A9F-4504-9AE6-BDF6C86BEB14.jpeg" width="248" /></a></div>
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Dorian Allworthy, "When I Have Fears"<br />
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The Arts Club of Chicago<br />
is a short walk from my art club,<br />
the Palette and Chisel,<br />
so why is this the first time<br />
I've ever visited their members' biennial exhibit?<br />
<br />
Maybe it's because they don't focus<br />
on naturalism and figurative art<br />
as we do.<br />
<br />
Except for a few exceptions<br />
like the artist shown above,<br />
(and Dorian was briefly a member<br />
of the Palette and Chisel exactly ten years ago.<br />
<a href="https://thisoldpalette.blogspot.com/2010/02/exhibit-dorian-allworthy.html">
I wrote about her here ) </a><br />
<br />
On the other hand,<br />
their standards for membership are much higher,<br />
or to put it more precisely,<br />
we don't have any standards at all.<br />
<br />
Several of their members, like Julia Fish,<br />
are among the most celebrated artists in our area.<br />
All of them are quite accomplished,<br />
though only a handful interest me,<br />
since I have no interest in photography<br />
or conceptual art.<br />
<br />
Regarding the above painting, it is rather intriguing, isn’t it?<br />
<br />
The solitary, powerful figure, of indeterminate race,<br />
is striding forward into a menacing though glorious forested landscape.<br />
The vision is heroic, believable, public, adult, and positive<br />
- the very opposite of 50 years of Chicago Imagism,<br />
and utterly foreign to the mainstream contemporary art world<br />
of the MCA or the Whitney Biennials - except for Kerry Marshall.<br />
<br />
Her subject is human destiny -<br />
which does tend to make everything else in the show feel insignificant.<br />
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Stanley Dean Edwards ( b. 1941)<br />
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<br />
Looking him up on the internet,<br />
his career began back in the 1960's<br />
with a figurative surrealism<br />
similar to Art Green of the Hairy Who.<br />
<br />
I like his recent abstraction much better.<br />
<br />
The theme seems to be the dynamics of natural forces.<br />
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<br />
Stephen Duren, b. 1948, untitled #3919<br />
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A wonderful post-Impressionist landscape painter from Michigan.<br />
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<br />
Tom Bachtell, b. 1957, Nelson Algren<br />
<br />
A long-time illustrator for the New Yorker,<br />
I really like the electric, early-modernist<br />
feel of this piece<br />
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<br />
Danny Bredar , Half-life<br />
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A 2014 MFA from the School of the Art Institute.<br />
His website shows him going in many directions.<br />
I hope he keeps going in this one.<br />
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<br />
Pooja Pittie, "In my memory, she was a mountain"<br />
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<a href="https://art.newcity.com/2019/05/17/eruptions-of-color-a-review-of-pooja-pittie-at-mccormick-gallery/"> I love Poojah Pittie ! </a>
<br />
<br />
<br />
.. though this piece may not have caught my eye<br />
unless I had seen the more colorful, celebratory work she showed<br />
at McCormick Gallery last year.<br />
<br />
Which reminds me<br />
that the same might have been true<br />
with many other artists in this exhibit.<br />
<br />
It's hard to like an artist from seeing just one piece.<br />
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<a href="https://www.blogger.com/I%20love%20Pooja%20Pittie%20%3C/a%3E%3Cbr%20/%3E%3Cbr%20/%3E%3Cbr%20/%3E%3Cbr%20/%3E%3Cbr%20/%3E%3Cbr%20/%3E%3Cbr%20/%3E%3Cdiv%20class=" separator="" style="clear: both; text-align: center;">
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Aron Gent, b. 1985, Donald Trump<br />
<br />
Equal parts monster and pathetic child<br />
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-- the kind that tears the wings off butterflies.<br />
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Peter Frederiksen, I’ll Be There<br />
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An art school drop out with some amazing abilities in fiber art.<br />
I'm allergic to cartoons - but he transforms them into a much better world.<br />
Why haven't I seen him at Western Exhibitions ?<br />
That's where his work belongs.<br />
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<br />
Tony Fitzpatrick, Medici Bird<br />
<br />
Same old same old from Tony,<br />
the rebellious adolescent.<br />
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But still it feels fresh, beautiful, and thrilling.<br />
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<br />
Michael Olszewski, b. 1950, In Berkeley<br />
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A fabric artist, and teacher, in the old school, modernist,<br />
Bauhaus tradition.<br />
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A very nice geo-form design.<br />
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<br />
Dan Jensen, History of Art Part II<br />
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If this were a self portrait,<br />
Jensen could be an art star.<br />
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<br />
Melissa Leandro, b. 1989, Window View<br />
<br />
Go to her website,<br />
she's a very exciting designer,<br />
and a New City Break-out artist from 2018.<br />
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chris millerhttp://www.blogger.com/profile/09575033275184403015noreply@blogger.com0tag:blogger.com,1999:blog-19047760.post-11662343620958228992019-11-10T10:29:00.001-06:002019-11-10T19:44:59.339-06:00A Eulogy for Linda Warren Gallery<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKscacy2amObezYO18AKv_dBTvN1MLXWSqtiN-yCHYT2BC5UzRUAysl8_evvbGxV1lxgV-Pvsr4NYFAeXDeKqH9JInKfdh_lTxNPRI8yvi62S9C1mb_t1t1pz8xZ0MN-0my2Ry/s1600/gallery+view.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="599" data-original-width="800" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKscacy2amObezYO18AKv_dBTvN1MLXWSqtiN-yCHYT2BC5UzRUAysl8_evvbGxV1lxgV-Pvsr4NYFAeXDeKqH9JInKfdh_lTxNPRI8yvi62S9C1mb_t1t1pz8xZ0MN-0my2Ry/s320/gallery+view.jpg" width="320" /></a></div>
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<br /></div>
<div style="text-align: center;">
<a href="http://mountshang.blogspot.com/2019/11/a-eulogy-for-shane-campbell-gallery.html">My recent eulogy</a> for Shane Campbell's gallery
</div>
<div style="text-align: center;">
got me thinking about another exhibition space</div>
<div style="text-align: center;">
that recently closed.</div>
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<br /></div>
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Like Campbell,</div>
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Warren is still in business,</div>
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it's just that she does not </div>
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mount exhibitions any more.</div>
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Unlike Campbell, who taught art history at the Art Institute,</div>
<div style="text-align: center;">
Warren relied much more on her eye than on academic ideas.<br />
I doubt that French theory means a damn thing to her.</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
She showed things that were gorgeous, upbeat, and just a bit quirky.</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
I really miss her.</div>
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<div style="text-align: center;">
<a href="https://art.newcity.com/2018/04/12/three-painters-all-women-a-review-of-kim-piotrowski-heather-marshall-nina-rizzo-at-linda-warren-projects/">Piotrowski, Marashall, and Rizzo</a>
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<br />
<a href="https://art.newcity.com/2017/12/01/is-our-present-pessimism-permanent-a-review-of-peter-drake-at-linda-warren-projects/">Peter Drake </a>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVBZoquaooevxNQMyUkIDU7ROFzk5jRpVrWH_wsraOpi3voSifODsTPJoAOfkyKIkaCqimFce1u6JkhxhlVXmIhyrvxQtgBjDeGrDqN2XD-dRqymca8MAuOWD3fB3_NGmbTZzR/s1600/go+figure.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="437" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVBZoquaooevxNQMyUkIDU7ROFzk5jRpVrWH_wsraOpi3voSifODsTPJoAOfkyKIkaCqimFce1u6JkhxhlVXmIhyrvxQtgBjDeGrDqN2XD-dRqymca8MAuOWD3fB3_NGmbTZzR/s320/go+figure.jpg" width="174" /></a></div>
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<a href="https://art.newcity.com/2017/10/17/figuring-it-out-a-review-of-go-figure-at-linda-warren-projects/">Go Figure</a>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-0dOSowFK77LQKLKHNoHD80mGY7Y20QT8dvM8cSAHS7rvOaeNzfFbLdcG-ivxexT2YON2BrlxRq3nfKiMY0qojmgxIpkffWjxPna3iF0MIzrp0f2W4ShvhpJuqRMDEp0wmfO7/s1600/torlu111.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="728" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-0dOSowFK77LQKLKHNoHD80mGY7Y20QT8dvM8cSAHS7rvOaeNzfFbLdcG-ivxexT2YON2BrlxRq3nfKiMY0qojmgxIpkffWjxPna3iF0MIzrp0f2W4ShvhpJuqRMDEp0wmfO7/s320/torlu111.jpg" width="291" /></a></div>
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<a href="https://art.newcity.com/2017/05/29/watercolors-that-gush-with-color-and-creativity/">Tom Torluemke </a>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWyEy5Dpb2A6fvM8hXYy7VPHS4KZFRASeTfEEFnRIAlx2oMeThfMv4d6AQ_novSqj6NN0aXZ-BLYD5Stcu4J0y4Mf7MuWTzEQxjkaHHBqeCeb5I6o8pRzMHTS-GB0Sml03q8pI/s1600/double+vision.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="606" data-original-width="770" height="251" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWyEy5Dpb2A6fvM8hXYy7VPHS4KZFRASeTfEEFnRIAlx2oMeThfMv4d6AQ_novSqj6NN0aXZ-BLYD5Stcu4J0y4Mf7MuWTzEQxjkaHHBqeCeb5I6o8pRzMHTS-GB0Sml03q8pI/s320/double+vision.jpg" width="320" /></a></div>
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<a href="https://art.newcity.com/2016/04/15/surreal-landscapes-of-beauty-and-aftermath-jennifer-presant-at-linda-warren-projects/">Jennifer Presant </a>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKSasMXnmH9EZ-O6oXDc3W4kUUL_nf7KWuB3pWtjS9SDXHKtP8RyTB5BOS4ocEbutxvpYa9sDIvDkGlukktkSpHb7kaPvM1_NybvBB44Suhsb5PfBsxlujxBaiPcQ5m3mCEBvK/s1600/nodr1-use.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="675" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKSasMXnmH9EZ-O6oXDc3W4kUUL_nf7KWuB3pWtjS9SDXHKtP8RyTB5BOS4ocEbutxvpYa9sDIvDkGlukktkSpHb7kaPvM1_NybvBB44Suhsb5PfBsxlujxBaiPcQ5m3mCEBvK/s320/nodr1-use.jpg" width="270" /></a></div>
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<a href="https://art.newcity.com/2014/05/08/review-joseph-nodererlinda-warren-projects-2/">Joseph Noderer </a>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMQ_rD0Cjsd-ULle3j8BN6gkY8KpZJG4MW0ZCyd54huYMaTzcokjefon9FKuh5gudChAZYy96Ej7Dxwo1hl2lieYPY2IxU0mD_ec9KGar1M2Wqr0cxp1CBR-P8R09MPSw4_7bW/s1600/racine.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="391" data-original-width="513" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMQ_rD0Cjsd-ULle3j8BN6gkY8KpZJG4MW0ZCyd54huYMaTzcokjefon9FKuh5gudChAZYy96Ej7Dxwo1hl2lieYPY2IxU0mD_ec9KGar1M2Wqr0cxp1CBR-P8R09MPSw4_7bW/s320/racine.jpg" width="320" /></a></div>
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<a href="https://art.newcity.com/2014/01/23/review-emmett-kerriganlinda-warren-projects/">Emmett Kerrigan</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgET8Q7oXtiYE4eUr0bYLhjRzQIwZSc_Vwggqva_WKQbrOyUM9XRSgOSlMl-CIbRqcbiaLz4QdUrGXeeOein_WFHsCKptj93dM4rJ9vWIjncBsgeVCI9bPh4IJ_A01lk1eBPmQM/s1600/never+have+i+ever.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="353" data-original-width="604" height="187" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgET8Q7oXtiYE4eUr0bYLhjRzQIwZSc_Vwggqva_WKQbrOyUM9XRSgOSlMl-CIbRqcbiaLz4QdUrGXeeOein_WFHsCKptj93dM4rJ9vWIjncBsgeVCI9bPh4IJ_A01lk1eBPmQM/s320/never+have+i+ever.jpg" width="320" /></a></div>
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<a href="https://art.newcity.com/2013/01/22/review-shay-kunlinda-warren-projects/">Shay Kun</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7ZfgktZiga0G30plw5WkgHBQ5MvhViwOjzVWSFc7Q_lx6JeyJJEEgmzq8QMV3eREwDawj7rD-SlKrzbgp9aP85aDNJfo5e-hi3tEBN_4bj82_XFvPxwqRY7riO4VXGVSJ4Vfh/s1600/UnchartedWaters.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="542" data-original-width="600" height="289" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7ZfgktZiga0G30plw5WkgHBQ5MvhViwOjzVWSFc7Q_lx6JeyJJEEgmzq8QMV3eREwDawj7rD-SlKrzbgp9aP85aDNJfo5e-hi3tEBN_4bj82_XFvPxwqRY7riO4VXGVSJ4Vfh/s320/UnchartedWaters.jpeg" width="320" /></a></div>
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<a href="https://art.newcity.com/2012/10/09/review-brenda-moorelinda-warren-projects/">Brenda Moore </a>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcWkay11BSeDzxr9aJYTsVHXELiA0qX5W6XiJttH-yjZjoq7q-b2__FKSGEp8iBmO1tI3EDYyx2uAhrOfmDpYOhT4dk8dva7ksRjnqPiIfpKiVBbBmQ7FrTyEsakRmlmpwsk-v/s1600/kohler.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="432" data-original-width="600" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcWkay11BSeDzxr9aJYTsVHXELiA0qX5W6XiJttH-yjZjoq7q-b2__FKSGEp8iBmO1tI3EDYyx2uAhrOfmDpYOhT4dk8dva7ksRjnqPiIfpKiVBbBmQ7FrTyEsakRmlmpwsk-v/s320/kohler.jpg" width="320" /></a></div>
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<a href="https://art.newcity.com/2011/01/31/review-william-eckhardt-kohlerlinda-warren-gallery/">William Eckhart Kohler</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5x7-l8t8u4Ndt_cb111YHqGboVZq-FVOffVJiPfbKCzidt0aM-TJ4asipyP4qMg0odXWzYDhuA7xuyMtEXZCaMsjFlkl3CdGbBscB_RIytD_NwIHG-55FyUeVI9WvdKuKlUkA/s1600/walker+school+yard.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="320" data-original-width="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5x7-l8t8u4Ndt_cb111YHqGboVZq-FVOffVJiPfbKCzidt0aM-TJ4asipyP4qMg0odXWzYDhuA7xuyMtEXZCaMsjFlkl3CdGbBscB_RIytD_NwIHG-55FyUeVI9WvdKuKlUkA/s1600/walker+school+yard.jpg" /></a></div>
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<a href="https://art.newcity.com/2010/09/13/review-heather-marshall-and-chuck-walkerlinda-warren-gallery/">Walker and Marshall </a>
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<br />chris millerhttp://www.blogger.com/profile/09575033275184403015noreply@blogger.com1tag:blogger.com,1999:blog-19047760.post-63687381743833665312019-11-09T15:36:00.001-06:002019-11-10T19:42:57.266-06:00A Eulogy for Shane Campbell Gallery<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7SGg4jexSkyySYpjIJfR5IzjN3e26JmdmI0IMaEZ6iA2TxsbaU46t5Zf3JZEw7DE4GZfWgRaurE5XqvwmCj0fR0C9nqnD2nCM2XIJQ1xZg8PV7Bz0SCQ3HEEHgbbaHC2R1SsR/s1600/ChicagoAndVicinity_SCG_INSTALL-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="534" data-original-width="800" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7SGg4jexSkyySYpjIJfR5IzjN3e26JmdmI0IMaEZ6iA2TxsbaU46t5Zf3JZEw7DE4GZfWgRaurE5XqvwmCj0fR0C9nqnD2nCM2XIJQ1xZg8PV7Bz0SCQ3HEEHgbbaHC2R1SsR/s320/ChicagoAndVicinity_SCG_INSTALL-1.jpg" width="320" /></a></div>
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<a href="https://art.newcity.com/2016/04/11/a-deep-but-narrow-look-at-chicagos-new-art-chicago-and-vicinity-at-shane-campbell-gallery/">
Chicago and Vicinity</a>
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I'm embarrassed to say that I only discovered Shane Campbell's gallery in 2015 --- fourteen years after he opened it in Oak Park. (which is where I live)<br />
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Ouch.<br />
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How could I have missed it ? Looking back at <a href="https://www.shanecampbellgallery.com/exhibitions">his list of exhibitions </a>, he 's a bit closer to the contemporary artworld mainstream than I've ever been. He finds fashionable alienation much more attractive than I do. But still, there's quite a few I wish I'd seen.<br />
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In 2016 he opened the south side gallery shown above.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiPrmZbpLapC64OcSosAVEWgPH1UWRlYK64JXQBNLn_J1ce16iv3TqcxELGXclRMElZJim9p3_yMApvHIRsaCP0P-_aEuCnnnq_wGFa0JR3ElaCo3pDvgb8EhJKr40bh_3W1tS/s1600/ChicagoAndVicinity_SCG_INSTALL-19B.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="534" data-original-width="800" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiPrmZbpLapC64OcSosAVEWgPH1UWRlYK64JXQBNLn_J1ce16iv3TqcxELGXclRMElZJim9p3_yMApvHIRsaCP0P-_aEuCnnnq_wGFa0JR3ElaCo3pDvgb8EhJKr40bh_3W1tS/s320/ChicagoAndVicinity_SCG_INSTALL-19B.jpg" width="320" /></a></div>
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It was a huge and gorgeous space.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnrO5KDt9k9ktIHNZZH3b32bx15Tl8-c2lhIY7pHcs3iooxsH0QRLDR9YmavBRolLu0HfAFyjIgBhl_61GVh_rj0ftk4nt0rO52hKG2YiKIwqKAb1bss9MrYZyodpZR_DL8Axo/s1600/KS-SCG_Condo-Install-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="534" data-original-width="800" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnrO5KDt9k9ktIHNZZH3b32bx15Tl8-c2lhIY7pHcs3iooxsH0QRLDR9YmavBRolLu0HfAFyjIgBhl_61GVh_rj0ftk4nt0rO52hKG2YiKIwqKAb1bss9MrYZyodpZR_DL8Axo/s320/KS-SCG_Condo-Install-2.jpg" width="320" /></a></div>
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He also had a satellite apartment gallery in a Lincoln Park high-rise designed by Mies Der Rohe.<br />
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How cool was that!<br />
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Apparently, he recently realized that he wasn't having fun any more. He hasn't sold his building or shut down his website -- but he's no longer mounting any shows.<br />
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I hope that eventually he will change his mind - if he can still afford to do so.<br />
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Maybe he could downsize a bit.<br />
He ran a very small gallery for more than a decade. Why not do it again?<br />
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As Thomas McCormick has proven -<br />
you don't really need a big staff and a big, gorgeous space<br />
to sell big gorgeous art.<br />
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( The links below are to my New City reviews )<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpw8Xy20A52CYEebFwDE9wL87hCrLZzcAW6VjYmvMfugS2FRWThb_FVgKO9sloxu983iQwEI3M8I5XphCBanywXkLR1FTgvRaOhAm4k-gPLzrzd0xrOEMaeouPmRkVHBsqGk1a/s1600/hundley.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="781" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpw8Xy20A52CYEebFwDE9wL87hCrLZzcAW6VjYmvMfugS2FRWThb_FVgKO9sloxu983iQwEI3M8I5XphCBanywXkLR1FTgvRaOhAm4k-gPLzrzd0xrOEMaeouPmRkVHBsqGk1a/s320/hundley.jpg" width="312" /></a></div>
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<a href="http://newcityart.blogspot.com/2018/06/elliott-hundley-at-shane-campbell.html">Elliott Hundley</a>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXZMxm6ORT5pSfMO7Na3UCe9ounynjEoGyPZMjGlXxwFsZS4XqLafasl2lT2JXIChBTFwR6G1QBn0DyQgdcygnSQ-iidPaSM6xg7Gv0YsupP0mM4mURQEZ_WrdGxNreIk6GstJ/s1600/Kishio_Suga_007_1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="659" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXZMxm6ORT5pSfMO7Na3UCe9ounynjEoGyPZMjGlXxwFsZS4XqLafasl2lT2JXIChBTFwR6G1QBn0DyQgdcygnSQ-iidPaSM6xg7Gv0YsupP0mM4mURQEZ_WrdGxNreIk6GstJ/s320/Kishio_Suga_007_1.jpg" width="263" /></a></div>
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<a href="https://art.newcity.com/2015/10/10/review-kishio-sugashane-campbell-gallery/-gallery/">Kishio Suga</a></div>
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<a href="https://art.newcity.com/2016/10/11/painting-fresh-and-cool-perfection/">Zak Prekop</a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2uiM5W0XEQEPFr6xfjwEXUuYzVqm5qlZfLyidVyEuUwXeLq8fEpa39PZp-RemSC7xjypmrFfzzXm5CWlyMcC3eSNEdBEGFx4ZCgkIOx8UkwMQGUieC9P84-XoTGiZ_NXPfXnx/s1600/Sayre_Gomez_001-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="563" data-original-width="750" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2uiM5W0XEQEPFr6xfjwEXUuYzVqm5qlZfLyidVyEuUwXeLq8fEpa39PZp-RemSC7xjypmrFfzzXm5CWlyMcC3eSNEdBEGFx4ZCgkIOx8UkwMQGUieC9P84-XoTGiZ_NXPfXnx/s320/Sayre_Gomez_001-1.jpg" width="320" /></a></div>
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<a href="https://art.newcity.com/2018/03/12/fake-it-when-you-make-it-a-review-of-this-is-a-pipe-at-shane-campbell-gallery/">
This is a Pipe</a>
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<a href="https://art.newcity.com/2015/01/07/review-shio-kusakashane-campbell-gallery/"> Shio Kusaka</a>
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chris millerhttp://www.blogger.com/profile/09575033275184403015noreply@blogger.com0tag:blogger.com,1999:blog-19047760.post-53052074397284845152019-09-24T18:05:00.000-05:002019-09-24T18:09:13.167-05:00Bengt Lindstrom<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE4VPVBnfAX1b2n5ZYv1FREcra3rcolfkEphBG3RUlmdWUHiDgw9SgnBj5zH6uhU04yG5uO2TfOYgwrGjxrJBWlhS9hqEp2htKmb9pisnW9eqaVnWKO1oYV4eSpQccuCHntKZd/s1600/D2B29708-272D-4B77-A182-F150004CC9CA.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="773" data-original-width="800" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE4VPVBnfAX1b2n5ZYv1FREcra3rcolfkEphBG3RUlmdWUHiDgw9SgnBj5zH6uhU04yG5uO2TfOYgwrGjxrJBWlhS9hqEp2htKmb9pisnW9eqaVnWKO1oYV4eSpQccuCHntKZd/s320/D2B29708-272D-4B77-A182-F150004CC9CA.jpeg" width="320" /></a></div>
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Biegga Galles, God of the Storm Wind</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglYlYlf-Dgv4LgLMtyovZKlMa-BjOgS03CzghKxrazlzym0mrR-vYSUDDi-wdxrPMDR979cw48rMfB3h0lgqu69jBQ38ysM6jL04SsIwYQ7iD4konU_xOoY1etKBPK24q9k4rM/s1600/bengt+monster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="692" data-original-width="800" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglYlYlf-Dgv4LgLMtyovZKlMa-BjOgS03CzghKxrazlzym0mrR-vYSUDDi-wdxrPMDR979cw48rMfB3h0lgqu69jBQ38ysM6jL04SsIwYQ7iD4konU_xOoY1etKBPK24q9k4rM/s320/bengt+monster.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgB6x8iptCmSIdXrNkqQ0_KCN3X5uQrz_Y1V3qqjE9CnXRXq9agaayNscpEn_YRr0euPgN-9_O6WEZWyBOv_-4IljvJicCBJ9GfWD_lpR_bqYksJkT1AeaiULHXmvRwDn4HIRV/s1600/A23B7D78-92BB-4C89-A07B-D0EA70AC847E.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="800" data-original-width="799" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgB6x8iptCmSIdXrNkqQ0_KCN3X5uQrz_Y1V3qqjE9CnXRXq9agaayNscpEn_YRr0euPgN-9_O6WEZWyBOv_-4IljvJicCBJ9GfWD_lpR_bqYksJkT1AeaiULHXmvRwDn4HIRV/s320/A23B7D78-92BB-4C89-A07B-D0EA70AC847E.jpeg" width="319" /></a></div>
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As it turns out -- I'm a big fan of the Swedish painter,<br />
Bengt Lindstrom (1925-2008)</div>
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His stuff drives me crazy.</div>
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I wrote about his show <a href="https://art.newcity.com/2019/09/11/static-velocity-a-review-of-bengt-lindstrom-at-the-swedish-american-museum/">here</a> .</div>
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Below are some more pictures that I took.</div>
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The American contemporary artworld<br />
being what it is,</div>
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chances are I will never see his work again.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit1v2_y7UacWhKE6TAlP67yAH4BZLJF6OJjEWr-GhUrtf3Rw-3y1uwOebhFXgDgChb84tv8bbi91_uUFfXlAFCzY5SFIjt6lGCRtlDgHds7e0rcIvU_rIdOnqbLoO4AZZKDW8A/s1600/2AA64F5F-F356-4762-90E7-C2AE17F60D6E.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="588" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit1v2_y7UacWhKE6TAlP67yAH4BZLJF6OJjEWr-GhUrtf3Rw-3y1uwOebhFXgDgChb84tv8bbi91_uUFfXlAFCzY5SFIjt6lGCRtlDgHds7e0rcIvU_rIdOnqbLoO4AZZKDW8A/s320/2AA64F5F-F356-4762-90E7-C2AE17F60D6E.jpeg" width="235" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmf2dFHfOIYGSonH2R_Sb1z2XkYYXIX15R3pOJc6OoJGd4X7JdQy4cc9c-V-qOquuWPFQWtMnygvIazvfVnMfhPzjtsXXUGCkszFZuFjzTlI_xcFapW35fxezW3b2MOevhAWzQ/s1600/E69DDE90-3A5C-415B-9860-3EBFA2B9FBA7.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="622" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmf2dFHfOIYGSonH2R_Sb1z2XkYYXIX15R3pOJc6OoJGd4X7JdQy4cc9c-V-qOquuWPFQWtMnygvIazvfVnMfhPzjtsXXUGCkszFZuFjzTlI_xcFapW35fxezW3b2MOevhAWzQ/s320/E69DDE90-3A5C-415B-9860-3EBFA2B9FBA7.jpeg" width="248" /></a></div>
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The Nordic God, Thor</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipz8ZQICK8KxoSDptqw77dYVy6faizDH4mPH04P6GST1_e1_D4VJBoc0k3S90O-1_3iHFaa_AOTu2fo2DN4ugiCsmzj5VYbEOqERO_pv3fZxeFxw3juOsg_LWxnGVaknoxdB9w/s1600/2F6EBB24-000E-4FC7-870B-9F26B730CA90.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="757" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipz8ZQICK8KxoSDptqw77dYVy6faizDH4mPH04P6GST1_e1_D4VJBoc0k3S90O-1_3iHFaa_AOTu2fo2DN4ugiCsmzj5VYbEOqERO_pv3fZxeFxw3juOsg_LWxnGVaknoxdB9w/s320/2F6EBB24-000E-4FC7-870B-9F26B730CA90.jpeg" width="302" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNI9M9BwIzzNxKYN9a2hv8e4AJYZF4mgO2LAY5qawSmtC3czpSI7Rzxnc5A9bQY0zGr21AQKjfSSbCpdCaQbYqE7S8yrKLF1FTM1cmLddYju6sONHWAEl7RWTeK0doRjBKVPnt/s1600/2F19735D-FEE3-4266-A061-F2C78DA30A1B.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="788" data-original-width="800" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNI9M9BwIzzNxKYN9a2hv8e4AJYZF4mgO2LAY5qawSmtC3czpSI7Rzxnc5A9bQY0zGr21AQKjfSSbCpdCaQbYqE7S8yrKLF1FTM1cmLddYju6sONHWAEl7RWTeK0doRjBKVPnt/s320/2F19735D-FEE3-4266-A061-F2C78DA30A1B.jpeg" width="320" /></a></div>
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Little Red Riding Hood</div>
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(with a rather crocodilian wolf)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0Di4drY2qVXzQWHAqEPN3KDsyoJ1-kvWJSjSxWtVnbvvk0xMXfrPdrGUIQCiuhC8d6hC6b7N4L5t1LjofXsFg__xqbYx0ONZOf0laWfGPZrv1NjMdSdsW8KOHW1WMuA59m873/s1600/4DC86313-B54F-444A-95FE-996CF5E173D0.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="560" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0Di4drY2qVXzQWHAqEPN3KDsyoJ1-kvWJSjSxWtVnbvvk0xMXfrPdrGUIQCiuhC8d6hC6b7N4L5t1LjofXsFg__xqbYx0ONZOf0laWfGPZrv1NjMdSdsW8KOHW1WMuA59m873/s320/4DC86313-B54F-444A-95FE-996CF5E173D0.jpeg" width="224" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGnSxYivCKgYlIf64KgxMtgojh_Br10IzKkOUkiL0oDbTAH-ytlekajbrl48zxY4-QoZl3QTUkJ2c5hvuTJduayGldKUqZJDo0f5QfjdqWGz1mVwa8xR3EyDna81e-pHpXZMng/s1600/7FBAF72D-1FD7-44E4-9225-70337FB8C8B4.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="579" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGnSxYivCKgYlIf64KgxMtgojh_Br10IzKkOUkiL0oDbTAH-ytlekajbrl48zxY4-QoZl3QTUkJ2c5hvuTJduayGldKUqZJDo0f5QfjdqWGz1mVwa8xR3EyDna81e-pHpXZMng/s320/7FBAF72D-1FD7-44E4-9225-70337FB8C8B4.jpeg" width="231" /></a></div>
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student work, Art Institute of Chicago</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9JiBUqvJz85-K1Y3AnT1Tyfmexxb1RJ4PWpzo_AboPxlKmvgHmILOfkHi4WlT3ENvJ-GoFB4yhUky-2LX_AH78yxPEFnr66KoF72Mrpvn0O7yFsOGLSQGfLxSLx4G6unMEuO3/s1600/9B7A9100-A1F5-4249-AA06-D0EA4270F176.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="520" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9JiBUqvJz85-K1Y3AnT1Tyfmexxb1RJ4PWpzo_AboPxlKmvgHmILOfkHi4WlT3ENvJ-GoFB4yhUky-2LX_AH78yxPEFnr66KoF72Mrpvn0O7yFsOGLSQGfLxSLx4G6unMEuO3/s320/9B7A9100-A1F5-4249-AA06-D0EA4270F176.jpeg" width="208" /></a></div>
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self portrait, 1970's</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivgo0D-dI36qVyLYsvgaJ6iX2x6ooOoyCCqAWjomDPOQRQJztEx207Y3hO5KVd09pBBInpVRDFMaSN-O8NBvKMng4hjv7-hIKSxQIC_ypVV6501E_cHA406K0CuqGVc_z5siVg/s1600/416B71E2-1F06-475A-8033-4C7BD7D95983.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="800" data-original-width="712" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivgo0D-dI36qVyLYsvgaJ6iX2x6ooOoyCCqAWjomDPOQRQJztEx207Y3hO5KVd09pBBInpVRDFMaSN-O8NBvKMng4hjv7-hIKSxQIC_ypVV6501E_cHA406K0CuqGVc_z5siVg/s320/416B71E2-1F06-475A-8033-4C7BD7D95983.jpeg" width="284" /></a></div>
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The Nordic God, Loke</div>
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Women of the Champs Elysees</div>
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(one for each side of the box)</div>
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Viking</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi04WLUkcmfoVrm4FVzL3h-LOpv7r6tqatgvCjZN-Vr3GChvsS9Z-SzqZqCDujG_8FfYI_jwFyRV5qdWxXWJ-5SRru6nlxLcuDO05F9IoV301UC9I6UcHiCBGcrS6bAVhIi5VN1/s1600/B36F22A9-8E36-4E64-AF25-D5E85EA38313.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="743" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi04WLUkcmfoVrm4FVzL3h-LOpv7r6tqatgvCjZN-Vr3GChvsS9Z-SzqZqCDujG_8FfYI_jwFyRV5qdWxXWJ-5SRru6nlxLcuDO05F9IoV301UC9I6UcHiCBGcrS6bAVhIi5VN1/s320/B36F22A9-8E36-4E64-AF25-D5E85EA38313.jpeg" width="297" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrMcdF0FVLvtHjgzYa5QcTlc82em_uuFdDhNNrvUtdxtbJOQtgiIj6UQltyA6mudK30I9YfZmmDJrAKTj1ML9g-QxUXfsXo_LpYIyL3M5VPeA3HKokDbSUEBhf1WEpOXaLXDuD/s1600/E8AA9EF9-61E1-4F85-8F1B-DBE2AAF3D4B2.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="711" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrMcdF0FVLvtHjgzYa5QcTlc82em_uuFdDhNNrvUtdxtbJOQtgiIj6UQltyA6mudK30I9YfZmmDJrAKTj1ML9g-QxUXfsXo_LpYIyL3M5VPeA3HKokDbSUEBhf1WEpOXaLXDuD/s320/E8AA9EF9-61E1-4F85-8F1B-DBE2AAF3D4B2.jpeg" width="284" /></a></div>
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Crazy Person</div>
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Red Magic</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOFu5edEG1O8kM9mkk3ZcyElVvqt9bOrJR_lB5xYL1BuVXH89ME4Wwfemf2pBMklTEd8DHbegXynGJxUmEpWqDhjfQcgoJ3qfVDGjX4QMj6x76z2Y92EXO7nnAeNuWwYXVCLbi/s1600/819C7029-A612-4A84-B57F-044175689F7A.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="800" data-original-width="790" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOFu5edEG1O8kM9mkk3ZcyElVvqt9bOrJR_lB5xYL1BuVXH89ME4Wwfemf2pBMklTEd8DHbegXynGJxUmEpWqDhjfQcgoJ3qfVDGjX4QMj6x76z2Y92EXO7nnAeNuWwYXVCLbi/s320/819C7029-A612-4A84-B57F-044175689F7A.jpeg" width="316" /></a></div>
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A few years ago, I <a href="https://art.newcity.com/2015/08/15/review-dimitri-pavlotskystudio-oh/">reviewed a show of
Dimitry Pavlotsky </a>
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and recently it occurred to me that he might like this show.</div>
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Bingo! Hit that nail on head.</div>
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He bought a coffee-table book of Lindstrom reproductions<br />
back in the nineties.</div>
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For a while, he riffed on his style<br />
-- examples of which are shown below.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHWjmXn38Kfc1nPnddg-ne9qI2yLxEdPwZO2fAH3fLHdbsRFM8w0MRkxv79cCpFpilKmDvm7ZYiIeq21cD0lSHOr-v_UDJLilWv8y7Ld-Zol0A_hCXkW9YtdEuz2V16Aa6zV7b/s1600/dmiri-+Drink_in_the_Park_1995_36x36_oil_on_canvas.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="750" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHWjmXn38Kfc1nPnddg-ne9qI2yLxEdPwZO2fAH3fLHdbsRFM8w0MRkxv79cCpFpilKmDvm7ZYiIeq21cD0lSHOr-v_UDJLilWv8y7Ld-Zol0A_hCXkW9YtdEuz2V16Aa6zV7b/s320/dmiri-+Drink_in_the_Park_1995_36x36_oil_on_canvas.jpg" width="300" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA_c1H5IFR60H5MQpYBZ3QYfD_lQNG4I16kh7J2tWYjOZ8ISOxnwISMc7APxQrRkTboxCBvvuY36Ms5l0CoLMeICbJGTc2GRuSaKhAir-CBBBk9UNoxLE-VkTkT5rDDP2cKoPf/s1600/dmitri+-+Red_Animal_1995_48x34_oil_on_canvas.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="626" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA_c1H5IFR60H5MQpYBZ3QYfD_lQNG4I16kh7J2tWYjOZ8ISOxnwISMc7APxQrRkTboxCBvvuY36Ms5l0CoLMeICbJGTc2GRuSaKhAir-CBBBk9UNoxLE-VkTkT5rDDP2cKoPf/s320/dmitri+-+Red_Animal_1995_48x34_oil_on_canvas.jpg" width="250" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdMliHqJgoargIqN8jVEV7qZe7Z0WNfhifih9XMGweUeI3JZ33_anb0FjIuZsjBmbCv8oagQnMijms8KQUVz0t7jAT3k1zPVwB-eSq1sUxG5DSOV5JJhpM7aPoyz3Q3jAuQj1o/s1600/dmitri+-+Thirsty_Green_1995_48x36_oil_on_canvas+%25281%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="648" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdMliHqJgoargIqN8jVEV7qZe7Z0WNfhifih9XMGweUeI3JZ33_anb0FjIuZsjBmbCv8oagQnMijms8KQUVz0t7jAT3k1zPVwB-eSq1sUxG5DSOV5JJhpM7aPoyz3Q3jAuQj1o/s320/dmitri+-+Thirsty_Green_1995_48x36_oil_on_canvas+%25281%2529.jpg" width="259" /></a></div>
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<a href="http://www.dimitripavlotsky.com/">Here's a website of his recent work </a>
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If anything - he's gotten even wilder.</div>
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He seems to have turned his mind inside-out.</div>
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<br />chris millerhttp://www.blogger.com/profile/09575033275184403015noreply@blogger.com0tag:blogger.com,1999:blog-19047760.post-7867438421867511382019-09-24T11:35:00.002-05:002022-10-02T11:18:15.529-05:00Art Expo Chicago 2019<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP7I8YZaA6a7HcLDr8zUZSnWOcwYgb0KUgw4EWquKdSielpKaaFTKYeqrdHGYqRs490-a_UjXyz0JxZDt3rXsqmX5GOdiXKuzmKfCIpB5v-YLYmHBKd5sG2su96KPzQ3fTJOVI/s1600/4747B2B8-44D0-4D6A-A56D-C9CC79DBF25D.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="621" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP7I8YZaA6a7HcLDr8zUZSnWOcwYgb0KUgw4EWquKdSielpKaaFTKYeqrdHGYqRs490-a_UjXyz0JxZDt3rXsqmX5GOdiXKuzmKfCIpB5v-YLYmHBKd5sG2su96KPzQ3fTJOVI/s320/4747B2B8-44D0-4D6A-A56D-C9CC79DBF25D.jpeg" width="248" /></a></div>
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Amoako Boafo</div>
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(MARIANE IBRAHIM Gallery , 437 N. Paulina St)</div>
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The 2019 edition of Expo Chicago is different -- and better ! -- than the previous seven editions of Tony Karman's international art fairs.<br />
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There were some disappointments - like very few landscapes, cityscapes, or still lifes. And Forum Gallery - often my favorite for mimetic representation - had nothing for me this year.<br />
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But overall, the show felt calmer -- more like an art gallery and less like a street fair. Maybe that's because visitors now enter from the end of the long hall instead of from the hectic middle.<br />
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It didn't humiliate the younger, smaller galleries by putting them in a distinctive "children's table" section.<br />
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It accommodated cyclists like myself by giving us a parking area right next to the entrance. Hurrah!<br />
(last year, security personnel were stationed there to keep bicycles from being chained to a railing)<br />
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But most importantly -- this show seems to announce the arrival of a new mainstream in American painting: the depiction of black people by black artists (mostly).<br />
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There have, of course, been black figure superstars like Jacob Lawrence, Romare Bearden, and mostly recently, Kerry Marshall. But until this year, black figuration has been rare at Chicago's annual art exhibition.<br />
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This year is different - and not just at Navy Pier. Black artists and black figuration have recently been much more visible throughout Chicago's galleries and museum spaces. The Mariane Ibrahim Gallery, which just moved here from Seattle, is one, quite promising example.<br />
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And since the subject matter is more about life than art theory, I am one happy viewer.<br />
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Below are my favorites.<br />
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Many others were on display, however. Some I didn't like -- and some I probably never saw. ( after about an hour of wandering about in this huge hall, I always become disoriented and may well miss a gallery or two )<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB6iMBqHGbsbrzIid4fFbZb7iQeuf_pMgneH0pXCEOjaZZz8qHfycfCywrlcvVDmUgUEZ50hRpcor0lqFIP5am8ZGEQgOJs-PH4lyRutVUDzyP2Jxwi5NxjQ9FVmM3PF8jgHht/s1600/6629B45E-0322-44CA-8486-7B83B0005259.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="557" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB6iMBqHGbsbrzIid4fFbZb7iQeuf_pMgneH0pXCEOjaZZz8qHfycfCywrlcvVDmUgUEZ50hRpcor0lqFIP5am8ZGEQgOJs-PH4lyRutVUDzyP2Jxwi5NxjQ9FVmM3PF8jgHht/s320/6629B45E-0322-44CA-8486-7B83B0005259.jpeg" width="222" /></a></div>
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Mala Cruz Palileo</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-TAZ6uJLXKPfy4FF4hMIpv6u-9JklUgyybLFDZoEp1ptJiPLiVMKVQFEUffx9eDTjbknglZr1t4fyGzsChMQ-5g5rYP6I7RwWuJpWo-i5-R1Oa0fIv1SN9Caww98-ApiUKnVA/s1600/F4E3B85B-6655-495E-B702-1F395CB0455F.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="797" data-original-width="800" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-TAZ6uJLXKPfy4FF4hMIpv6u-9JklUgyybLFDZoEp1ptJiPLiVMKVQFEUffx9eDTjbknglZr1t4fyGzsChMQ-5g5rYP6I7RwWuJpWo-i5-R1Oa0fIv1SN9Caww98-ApiUKnVA/s320/F4E3B85B-6655-495E-B702-1F395CB0455F.jpeg" width="320" /></a></div>
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Mario Moore</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBs73QpkZ02puALYMV7XHv3u1TPUXyIiXrK9g1m0AN_uIMn5eIG8KvOKDcONui_hwKlGjcX2i6rrXnyNeqs3-TIeGlH5V01M9J7jHTe16SN4STYq3ONJNnOIqSZhb12mfqv_IU/s1600/A6341ADF-1FDC-4E94-A9CD-93769FDED2F3.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="800" data-original-width="606" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBs73QpkZ02puALYMV7XHv3u1TPUXyIiXrK9g1m0AN_uIMn5eIG8KvOKDcONui_hwKlGjcX2i6rrXnyNeqs3-TIeGlH5V01M9J7jHTe16SN4STYq3ONJNnOIqSZhb12mfqv_IU/s320/A6341ADF-1FDC-4E94-A9CD-93769FDED2F3.jpeg" width="242" /></a></div>
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David Antonio Cruz</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuiCbgsjQ5Azn1dn402P5Of3-MGS6nKkyXYmqKilvedFKAvWV1AXK2m5k_k1nkFem_7SRhB5hoN5_mj8by8hyphenhyphen8-_mPbgTkqaTd6ctvfV7qoh9EvSZe3Os7tUvXCG8ZCZpfRX0g/s1600/4E07F30B-85C6-4642-B69F-BFFC889E0690.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="702" data-original-width="800" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuiCbgsjQ5Azn1dn402P5Of3-MGS6nKkyXYmqKilvedFKAvWV1AXK2m5k_k1nkFem_7SRhB5hoN5_mj8by8hyphenhyphen8-_mPbgTkqaTd6ctvfV7qoh9EvSZe3Os7tUvXCG8ZCZpfRX0g/s320/4E07F30B-85C6-4642-B69F-BFFC889E0690.jpeg" width="320" /></a></div>
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Cheryl Pope<br />
(this is a kind of tapestry)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicJcI91gowA1kit6bwH0SqsJ7xEheuWxDczYU0Wu3eSHOTqMo1uivYm2gL-B5WjpzsCj8zqpB_tVCDT9KBe8drKURFt9XcsfMDMrw2Lk3CP6pVkcMDAoqLRgWbfaCnV9gEE0jM/s1600/5BA08C4C-B2F6-46E3-B808-6E41F3716C0E.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="754" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicJcI91gowA1kit6bwH0SqsJ7xEheuWxDczYU0Wu3eSHOTqMo1uivYm2gL-B5WjpzsCj8zqpB_tVCDT9KBe8drKURFt9XcsfMDMrw2Lk3CP6pVkcMDAoqLRgWbfaCnV9gEE0jM/s320/5BA08C4C-B2F6-46E3-B808-6E41F3716C0E.jpeg" width="301" /></a></div>
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Charles DuBack, 1960
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXRTA3P7HP5J5nnR4J-VyiTYzWFuXPCM6mpl0Ygx9UsOhedCaqC3RiLpw0Eigra88EDUCt81NAvTZJkAyT824g_xnuL7OkVABrkWxhPrdY8DEcMwhtu4jX92D0UEMOew7q344w/s1600/698ADBD9-A33F-442E-932A-6F82E7C090C8.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="744" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXRTA3P7HP5J5nnR4J-VyiTYzWFuXPCM6mpl0Ygx9UsOhedCaqC3RiLpw0Eigra88EDUCt81NAvTZJkAyT824g_xnuL7OkVABrkWxhPrdY8DEcMwhtu4jX92D0UEMOew7q344w/s320/698ADBD9-A33F-442E-932A-6F82E7C090C8.jpeg" width="297" /></a></div>
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Shadi Al-Atallah<br />
the U.K. artist is an Arab from Saudi Arabia</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnNSuYrUC6m-kNMjmUeuoBf36R5pbk5wAh_gXsPJiollBd4trKfwHXT1zOL4Q6LLPnfHHYrUzb4CpjNYZqFJvlfxnaJ68YwbtJITIpcSpWnY_XeIIbzqVcqmhQ49xqIde_UEpJ/s1600/17E491C1-C334-4ACD-AF02-9DECBE9FCDC2.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="688" data-original-width="800" height="274" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnNSuYrUC6m-kNMjmUeuoBf36R5pbk5wAh_gXsPJiollBd4trKfwHXT1zOL4Q6LLPnfHHYrUzb4CpjNYZqFJvlfxnaJ68YwbtJITIpcSpWnY_XeIIbzqVcqmhQ49xqIde_UEpJ/s320/17E491C1-C334-4ACD-AF02-9DECBE9FCDC2.jpeg" width="320" /></a></div>
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Pat Phillips
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Love this dramatically skewed sense of space -- reminds me of Philip Guston</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaGiPhpqYDIyWKV2pRt5FNH4XWez9rKIvYt2cXjUXqv3W5AEAAiszxSP7rrQG26PHaK81sOSBEKeu8_Cd9smJoL8vOsFWuOriLCuyMy2rVc6P805tLl43egDFfzuVQJnZs1mvE/s1600/9BB926AD-38E1-4763-BC5E-92F6332340D0.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="668" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaGiPhpqYDIyWKV2pRt5FNH4XWez9rKIvYt2cXjUXqv3W5AEAAiszxSP7rrQG26PHaK81sOSBEKeu8_Cd9smJoL8vOsFWuOriLCuyMy2rVc6P805tLl43egDFfzuVQJnZs1mvE/s320/9BB926AD-38E1-4763-BC5E-92F6332340D0.jpeg" width="267" /></a></div>
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Devan Shimoyama
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Many materials went into this confection -- including a real piece of carpet.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrJC93qRO553afym0gnlmiKpfzseBk2C1oD2wkjY4TfqP_3AMQJFQUJdeL18DNU4DBTe6s1NkdMONQo51q51O7f5lBPGZWbiQ4fKWdGyjvKwHx4QXPS5Aa8SDWHJtmepf8q5u-/s1600/A3F0BA7E-E09B-4BF1-A205-820717D9CFB0.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="724" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrJC93qRO553afym0gnlmiKpfzseBk2C1oD2wkjY4TfqP_3AMQJFQUJdeL18DNU4DBTe6s1NkdMONQo51q51O7f5lBPGZWbiQ4fKWdGyjvKwHx4QXPS5Aa8SDWHJtmepf8q5u-/s320/A3F0BA7E-E09B-4BF1-A205-820717D9CFB0.jpeg" width="289" /></a></div>
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Paritosh Sen (1918-2008)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJi2AHfGUJnPDMhPALnd6Tyl_N8YVMdmP4QBjUQNRIF0D4SW0NrUCIk9bYZ3RUAD0TmzzeQYqlc1XtppGBNhzd_HkNQ9NEunreHBn7amW64AN9fah4kT2FzDsRyApJddHySRCX/s1600/C8F31732-A3C7-4A04-ABC9-48FC92C914C2.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="800" data-original-width="761" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJi2AHfGUJnPDMhPALnd6Tyl_N8YVMdmP4QBjUQNRIF0D4SW0NrUCIk9bYZ3RUAD0TmzzeQYqlc1XtppGBNhzd_HkNQ9NEunreHBn7amW64AN9fah4kT2FzDsRyApJddHySRCX/s320/C8F31732-A3C7-4A04-ABC9-48FC92C914C2.jpeg" width="304" /></a></div>
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Marcus Brutus</div>
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I really like this self taught artist who was discovered after someone posted his work on Instagram<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjlQKNTulRc0L90uUQcu2cP5WoGwE4LiFM8JmZ25pet22U_TvOeoW6Ni-RFEqFrcnBltTb3h4sE1MXR5kLwmw8_gT8q5i1co8DL_3gTvGxbnR_Ou1bjZbEPeIVbJGLbgxdai-W/s1600/83281081-CF4C-418B-A432-4AE23B59F1FF.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="773" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjlQKNTulRc0L90uUQcu2cP5WoGwE4LiFM8JmZ25pet22U_TvOeoW6Ni-RFEqFrcnBltTb3h4sE1MXR5kLwmw8_gT8q5i1co8DL_3gTvGxbnR_Ou1bjZbEPeIVbJGLbgxdai-W/s320/83281081-CF4C-418B-A432-4AE23B59F1FF.jpeg" width="309" /></a></div>
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Marcus Brutus
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizTT4_kCbBfIrJo4WAOId0IVM8lUUkc5wKjsm2li3lFsXf1ihNTr6CiquHZosa-RPdFMpWn4Vk3b2uICE_GPMLvpBn5wr_bqYAtg8_6ncdLP7OBXtXwfD47g7jq9Avql90BHXQ/s1600/949720B1-515F-4E3E-80C1-7616261BC494.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="487" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizTT4_kCbBfIrJo4WAOId0IVM8lUUkc5wKjsm2li3lFsXf1ihNTr6CiquHZosa-RPdFMpWn4Vk3b2uICE_GPMLvpBn5wr_bqYAtg8_6ncdLP7OBXtXwfD47g7jq9Avql90BHXQ/s320/949720B1-515F-4E3E-80C1-7616261BC494.jpeg" width="194" /></a></div>
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Matthew Stone</div>
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(this is a wall-size digital print)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh2KbN_Qtwb8BKqdg2TPTUMayV46UXNGuq8I_q0CNWMOfEyoGwudKi2LQrg3yo8qDBKCRJv4WbKUOui2j9ejBdYDl68zABTd-7tpDUf-RGr7LbexB_9gLN0sp8XP3HllktT17A/s1600/B1DF78D6-57E0-47AF-B5D7-1BE2505F1550.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="800" data-original-width="782" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh2KbN_Qtwb8BKqdg2TPTUMayV46UXNGuq8I_q0CNWMOfEyoGwudKi2LQrg3yo8qDBKCRJv4WbKUOui2j9ejBdYDl68zABTd-7tpDUf-RGr7LbexB_9gLN0sp8XP3HllktT17A/s320/B1DF78D6-57E0-47AF-B5D7-1BE2505F1550.jpeg" width="312" /></a></div>
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Alex Gardner</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUPH9nvhMITQT5Kb2sAlY4v2xNw9-rGrx9TWS1LkH76qrTzfjH_znY2uvCZ0odd7yIIMV5ifDWRdYoNMCw4i7QEHQ8j-ReG9YiVTgYDStW4mW64PHYu4xSx-MLwEJqYWqi2y-8/s1600/FDCF9187-3346-4350-97F2-750382E38D9A.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="536" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUPH9nvhMITQT5Kb2sAlY4v2xNw9-rGrx9TWS1LkH76qrTzfjH_znY2uvCZ0odd7yIIMV5ifDWRdYoNMCw4i7QEHQ8j-ReG9YiVTgYDStW4mW64PHYu4xSx-MLwEJqYWqi2y-8/s320/FDCF9187-3346-4350-97F2-750382E38D9A.jpeg" width="214" /></a></div>
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Stephane Conradie
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjooeezi7Hi7CPMhprVAUeO2z9dZ1ZyxpQtHAObet2xypzXJA1Bq-r1fQW1AMLWD76lmNmFg0vB3ds-s4I5LnW085VEpKJz2XkRTLyKP54aEVUiCPRkNQxSi3wGHtyzr3Gmm_Ho/s1600/FB0D3BDC-4A80-42D1-9644-8499A7BB1B19.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="538" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjooeezi7Hi7CPMhprVAUeO2z9dZ1ZyxpQtHAObet2xypzXJA1Bq-r1fQW1AMLWD76lmNmFg0vB3ds-s4I5LnW085VEpKJz2XkRTLyKP54aEVUiCPRkNQxSi3wGHtyzr3Gmm_Ho/s320/FB0D3BDC-4A80-42D1-9644-8499A7BB1B19.jpeg" width="215" /></a></div>
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John Sonsini
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxr95GXGvHW6wM-_hgKPyIzo9LBRMfABuMjfczNvhx5XAXTD_DEVI2PbC0nFaU-npjCopmJwKIPfx0WGSCZA4TAF8nMxDC-xqtOq3-6tEGcMqlxwhvqHWWvYjABf3_Do2ZekVq/s1600/B0E7231C-0414-4CAC-9A5F-1AAA2340B3BC.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="800" data-original-width="471" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxr95GXGvHW6wM-_hgKPyIzo9LBRMfABuMjfczNvhx5XAXTD_DEVI2PbC0nFaU-npjCopmJwKIPfx0WGSCZA4TAF8nMxDC-xqtOq3-6tEGcMqlxwhvqHWWvYjABf3_Do2ZekVq/s320/B0E7231C-0414-4CAC-9A5F-1AAA2340B3BC.jpeg" width="188" /></a></div>
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Elizabeth Catlett (1915 - 2012)</div>
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Now, we move on the depictions of white people:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiVodBG8Uk8SraCMBgqVyCrJjAOhFnrNYQzPocVrho3wZuTg1FxqeFZf9P6OM9YhoXawnNoN6MJ7Mxsna1wbbMcTDbcWy_8QR7oungdLfkG3BxFNedtowmX1my_4URprP2h3dq/s1600/AC6DDBEC-9C7E-4D61-8534-C1594AB973D9.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="800" data-original-width="699" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiVodBG8Uk8SraCMBgqVyCrJjAOhFnrNYQzPocVrho3wZuTg1FxqeFZf9P6OM9YhoXawnNoN6MJ7Mxsna1wbbMcTDbcWy_8QR7oungdLfkG3BxFNedtowmX1my_4URprP2h3dq/s320/AC6DDBEC-9C7E-4D61-8534-C1594AB973D9.jpeg" width="279" /></a></div>
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Celeste Rapone, "Corner Office"</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL3sdVZPNTIRUY4rN_r0O0jXMew5iF9E9CectSGrJj8aUQrOJWc5eIbqGwYD6-ROp4OO89r6Ot7GUZ8-26vi4T3qCmfGR-Ma-q4x-LctZLXf2r278Pi1858-VgptNermKc3fXr/s1600/12CA74D4-1D68-4C35-820C-168B6778FFD3.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="800" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL3sdVZPNTIRUY4rN_r0O0jXMew5iF9E9CectSGrJj8aUQrOJWc5eIbqGwYD6-ROp4OO89r6Ot7GUZ8-26vi4T3qCmfGR-Ma-q4x-LctZLXf2r278Pi1858-VgptNermKc3fXr/s320/12CA74D4-1D68-4C35-820C-168B6778FFD3.jpeg" width="320" /></a></div>
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Sandro Chia</div>
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It would be hard to imagine this kind of figuration coming from anywhere but Italy or maybe France.<br />
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The artist was born in Florence.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIrBcVAdabmZhej97vpdZLT78ReERUjnb2IkcHLd9qoCFKZhq5oMuMlmF3WIqaqsfLcePyNA5tL0z_c-YNk7PpjQytVfaIV6_ru7vrwo8XEXfcp8LakcUfHbyowb3qQVs_3Clv/s1600/72F03693-5649-4D84-86F5-76616DCF3BBD.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="800" data-original-width="515" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIrBcVAdabmZhej97vpdZLT78ReERUjnb2IkcHLd9qoCFKZhq5oMuMlmF3WIqaqsfLcePyNA5tL0z_c-YNk7PpjQytVfaIV6_ru7vrwo8XEXfcp8LakcUfHbyowb3qQVs_3Clv/s320/72F03693-5649-4D84-86F5-76616DCF3BBD.jpeg" width="206" /></a></div>
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Sandro Chia</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFtsbRgVXOxBnmNNvddXjh1vUlqu17s6ZEzyOne9hbYqbkUN1WdFTyIpFRvnB8R6239fH85iJ1TFDinrvJrL-TNk6NXLnvY162IOnhF7I9oxGczyjHFl6RkJLx3rJONwp7U4_6/s1600/59A2235E-EA9B-4E28-91C6-B449D897722D.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="599" data-original-width="800" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFtsbRgVXOxBnmNNvddXjh1vUlqu17s6ZEzyOne9hbYqbkUN1WdFTyIpFRvnB8R6239fH85iJ1TFDinrvJrL-TNk6NXLnvY162IOnhF7I9oxGczyjHFl6RkJLx3rJONwp7U4_6/s320/59A2235E-EA9B-4E28-91C6-B449D897722D.jpeg" width="320" /></a></div>
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Danuel Mendez (Cuban)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgixvEHtPviUYl26nWhXJfX3ScuYWftTT9vK2TRERHEGHUZNdS203eMtw4QfLZQBkEqO_3FQI1Etqg0oo8FCMMCG-rndZuAOFOqS6q5nGfI3CnEh638Bqo8KbwtR3eAl1wtdJfh/s1600/B78A53A5-64C1-4BAA-B73A-6F7C29BE801A.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="638" data-original-width="713" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgixvEHtPviUYl26nWhXJfX3ScuYWftTT9vK2TRERHEGHUZNdS203eMtw4QfLZQBkEqO_3FQI1Etqg0oo8FCMMCG-rndZuAOFOqS6q5nGfI3CnEh638Bqo8KbwtR3eAl1wtdJfh/s320/B78A53A5-64C1-4BAA-B73A-6F7C29BE801A.jpeg" width="320" /></a></div>
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Nathan Oliveira (1928-2010) , 1966</div>
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Always a thrill to see good life drawing in these shows.<br />
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It's quite rare.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT5_UJBct4KqNRvX6eOhUMY68qxFFFm_EV0kxsz2LXxMnWSc8d_AoL68ID8M_2dPwwf8AOOL_tXzDo3nic8vXYXf_1D3LCHS5FxMaEMX5LPLEa85IbOfWthKIKwQLSezeA0MUz/s1600/C3457826-8B3A-4BCF-8356-4D30EA4A1964.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="579" data-original-width="800" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT5_UJBct4KqNRvX6eOhUMY68qxFFFm_EV0kxsz2LXxMnWSc8d_AoL68ID8M_2dPwwf8AOOL_tXzDo3nic8vXYXf_1D3LCHS5FxMaEMX5LPLEa85IbOfWthKIKwQLSezeA0MUz/s320/C3457826-8B3A-4BCF-8356-4D30EA4A1964.jpeg" width="320" /></a></div>
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Tom Wesselmann (1931 - 2004) </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7hFXQbWxz6Tu38YnMRn5Su5pmyHRFPjo6XII5I-n8FK9qAQsK4AyqudgxYdt4zFBxPtJJCguhcdOghBbP6Mn6BduR2MOc0Xv8LAvfJTG2vPECK5iodhn8fKHkrbPbqopzjGcO/s1600/CAB4A724-8F0F-40F3-AD61-3B992C73F816.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="789" data-original-width="800" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7hFXQbWxz6Tu38YnMRn5Su5pmyHRFPjo6XII5I-n8FK9qAQsK4AyqudgxYdt4zFBxPtJJCguhcdOghBbP6Mn6BduR2MOc0Xv8LAvfJTG2vPECK5iodhn8fKHkrbPbqopzjGcO/s320/CAB4A724-8F0F-40F3-AD61-3B992C73F816.jpeg" width="320" /></a></div>
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Cayce Zavaglia , embroidery</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_MpgetRQsZvFuSQg_0qbF2tGDIkkDaaLWL2SmyRsRlen67yGJPcY4byIk6Tx7PnrDI7fl-fDU7MjfJtTMH20y243nMCncDq4_U-iFv3mBIVqPVSEY7rLcW-avOsLamvQo7GUG/s1600/E733EBB3-7BB7-4426-80D0-E150EE1E2A01.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="536" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_MpgetRQsZvFuSQg_0qbF2tGDIkkDaaLWL2SmyRsRlen67yGJPcY4byIk6Tx7PnrDI7fl-fDU7MjfJtTMH20y243nMCncDq4_U-iFv3mBIVqPVSEY7rLcW-avOsLamvQo7GUG/s320/E733EBB3-7BB7-4426-80D0-E150EE1E2A01.jpeg" width="214" /></a></div>
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Gina Pellon, 2011</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSzosjGeg-zHrQcgjTIX3KbLwpUzORnrSsn5xpUkzHHxzgz3upW_jIRLTUUyhqq2FqaLKMTBhW0iX1ACZDa0LKg0LAoji0kGV-oipLidzhAEkE1WGwtgqHoQHNr-vam2AhmrhP/s1600/CE56CEA5-35F7-4A55-809A-531CF2A8D5E1.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="800" data-original-width="740" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSzosjGeg-zHrQcgjTIX3KbLwpUzORnrSsn5xpUkzHHxzgz3upW_jIRLTUUyhqq2FqaLKMTBhW0iX1ACZDa0LKg0LAoji0kGV-oipLidzhAEkE1WGwtgqHoQHNr-vam2AhmrhP/s320/CE56CEA5-35F7-4A55-809A-531CF2A8D5E1.jpeg" width="296" /></a></div>
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Dae Hun Kwon, cast resin</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg0iKx0b2fPiNC7HMk_vQIGdZqhNy2mjqTiwRv_rzzH4clHn_zt2P0MZzUptcXNjPCXiThN0gq6rB9QAR6Ic-ztU1BptlnD40-crhK2F9pMmJGE802EOomcy2WTTQ5EIpafdYB/s1600/B2D1F434-21EF-4BE6-9514-EFE3CA06AFE9.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="800" data-original-width="608" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg0iKx0b2fPiNC7HMk_vQIGdZqhNy2mjqTiwRv_rzzH4clHn_zt2P0MZzUptcXNjPCXiThN0gq6rB9QAR6Ic-ztU1BptlnD40-crhK2F9pMmJGE802EOomcy2WTTQ5EIpafdYB/s320/B2D1F434-21EF-4BE6-9514-EFE3CA06AFE9.jpeg" width="243" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqvv0Loi-lCKxNeRhlt05EbNSUvVxRm8bC4cJrXE0z0Jj6skCc2ZAKsOkNhUixmDGx8BQiPN_N0l-nf-H-XsTIDwC_lKC7hZClXxz7px35L_IA4vSg6qcpXFrAsSN8q4AYf4tt/s1600/2D272F05-E3E4-4559-93FA-666847A8D537.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="575" data-original-width="800" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqvv0Loi-lCKxNeRhlt05EbNSUvVxRm8bC4cJrXE0z0Jj6skCc2ZAKsOkNhUixmDGx8BQiPN_N0l-nf-H-XsTIDwC_lKC7hZClXxz7px35L_IA4vSg6qcpXFrAsSN8q4AYf4tt/s320/2D272F05-E3E4-4559-93FA-666847A8D537.jpeg" width="320" /></a></div>
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Milton Avery, 1930</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfv2wu3YaSvw-8y98KFCSjXtGM9eRZtEnfEUWfEriRCE6nMNKuSH05aYLZjwDSI6EfJL5V7dz5dUnDoSq4lEpjQ-HxfzK6akTP87hnU37R00Z08R3auGoT4yqeXg54Lg2o2CGV/s1600/DC264304-4834-4836-A8F3-8A365C9B9F3F.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="800" data-original-width="772" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfv2wu3YaSvw-8y98KFCSjXtGM9eRZtEnfEUWfEriRCE6nMNKuSH05aYLZjwDSI6EfJL5V7dz5dUnDoSq4lEpjQ-HxfzK6akTP87hnU37R00Z08R3auGoT4yqeXg54Lg2o2CGV/s320/DC264304-4834-4836-A8F3-8A365C9B9F3F.jpeg" width="308" /></a></div>
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King Rhee</div>
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This was the only landscape that I saw --- it uses two layers of plexiglass to deepen pictorial space.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmle_r7CyUssSQa_en5XBLzAN3Al76SGc53HuMVk5cT_rnmiU6r78klRpgCMIm7AErICkCZgvIXw2aADk1kH5sBc3GxqAqp1c4u6tY9Kuhh0cPhLsyEbn9eCVe6IV9e-TeAool/s1600/9E13078C-6AF4-479B-8408-11CF178BA964.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="791" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmle_r7CyUssSQa_en5XBLzAN3Al76SGc53HuMVk5cT_rnmiU6r78klRpgCMIm7AErICkCZgvIXw2aADk1kH5sBc3GxqAqp1c4u6tY9Kuhh0cPhLsyEbn9eCVe6IV9e-TeAool/s320/9E13078C-6AF4-479B-8408-11CF178BA964.jpeg" width="316" /></a></div>
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Mark Innerst</div>
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There were only a few cityscapes -- and these are the only ones that I liked.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKGk6_W0M_eVKBA16VYX8adSnCyw0aO5bOKXCVPfTi2j_21BDXXj1lllepukUMrLuVUccHT7F41uBLpdBSIf1nR-VOtT1WXLb9DVXgeSNUj6NRRqKUiNnrzoFM9RCjVNWcWyfj/s1600/12A3F08A-7355-422C-A0CF-438DDC51DFA6.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="716" data-original-width="800" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKGk6_W0M_eVKBA16VYX8adSnCyw0aO5bOKXCVPfTi2j_21BDXXj1lllepukUMrLuVUccHT7F41uBLpdBSIf1nR-VOtT1WXLb9DVXgeSNUj6NRRqKUiNnrzoFM9RCjVNWcWyfj/s320/12A3F08A-7355-422C-A0CF-438DDC51DFA6.jpeg" width="320" /></a></div>
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Mendes Wood Gallery<br />
(couldn't find the name of the artist)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2COVZh7JJqjceK-fhk7pOXB5N8UpC9oKEVHWkkbtUoTPEYgu8TgThkvg_MNzDOKDZk-gsTAEv8BJmFmk_m_lUs_BqtTZi9RLXtAdbrXNMe-i_Bxl15b2YPrtY3yuR7lLotBPH/s1600/E64AA88C-B1DC-4372-BCCC-17FDFB29E366.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="789" data-original-width="800" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2COVZh7JJqjceK-fhk7pOXB5N8UpC9oKEVHWkkbtUoTPEYgu8TgThkvg_MNzDOKDZk-gsTAEv8BJmFmk_m_lUs_BqtTZi9RLXtAdbrXNMe-i_Bxl15b2YPrtY3yuR7lLotBPH/s320/E64AA88C-B1DC-4372-BCCC-17FDFB29E366.jpeg" width="320" /></a></div>
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Michael Reafsnyder</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKElGAifpFpGsa9zhVzWgwHJBElsLukvsHywQ5magx5tGjKodD1HlA2yeoK4YafPdlkZS1NGdMKTks5L8NhEFHW1m0nNJH0_HM07JKiNfMqEdpzXBfks59YGobAGjgxUgEZpqL/s1600/CAF34C35-8A6F-4B05-9175-FBAB4D674E96.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="612" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKElGAifpFpGsa9zhVzWgwHJBElsLukvsHywQ5magx5tGjKodD1HlA2yeoK4YafPdlkZS1NGdMKTks5L8NhEFHW1m0nNJH0_HM07JKiNfMqEdpzXBfks59YGobAGjgxUgEZpqL/s320/CAF34C35-8A6F-4B05-9175-FBAB4D674E96.jpeg" width="244" /></a></div>
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Jim Lutes<br />
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So far, this is my favorite painting by this local artist.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9XJaZ5D6KzBxchtNzeP0Bdog4YtV_sfLJIjLxgBo-U57dJhXEttbpAlYadEy_zmArk8NYqvgloL0o5HwW_zI2WBftZ9jl1zsgtkK6KNrX6rTvGU9IEWIkdeOt-KAqjwsmOH5D/s1600/A9B7B22E-EBE7-47F5-9B41-CA733C53113A.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="786" data-original-width="800" height="314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9XJaZ5D6KzBxchtNzeP0Bdog4YtV_sfLJIjLxgBo-U57dJhXEttbpAlYadEy_zmArk8NYqvgloL0o5HwW_zI2WBftZ9jl1zsgtkK6KNrX6rTvGU9IEWIkdeOt-KAqjwsmOH5D/s320/A9B7B22E-EBE7-47F5-9B41-CA733C53113A.jpeg" width="320" /></a></div>
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Alexandria Smith</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLlU0FjLKQtfnTdvZXEGtZlCOh0MXVJr2AvYZEAcdGyYzUtvWKsqv-eTCZVTv1sxkTl0_Oh2dhsuyajazP283Zosc571PwVQmYMPj2Qssvic_YEJK8rDiBCwTCnrV-Eya0OfXh/s1600/A81EE356-1126-43DC-A437-B63D5E77F591.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="546" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLlU0FjLKQtfnTdvZXEGtZlCOh0MXVJr2AvYZEAcdGyYzUtvWKsqv-eTCZVTv1sxkTl0_Oh2dhsuyajazP283Zosc571PwVQmYMPj2Qssvic_YEJK8rDiBCwTCnrV-Eya0OfXh/s320/A81EE356-1126-43DC-A437-B63D5E77F591.jpeg" width="218" /></a></div>
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Rashid Johnson</div>
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Similar to the banged and burned panels of Cleveland Dean -- but this one seems more related to abstract painting.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEX8Jw7Lvj1J4jKU9Ldw9EtwaENHYMx8EufFE1jZ6i-fG2cZhFgmmkFF7ShqoLgKKSG7Ys21eg98Vi4PFNcCVPnfgS6ViC4NvZ73mKhOtq5AeoEEktjIVBrM-JM8Zg2vi5Vbef/s1600/41102C7A-CCC3-4FBE-87F0-4B3FBB5658C9.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="675" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEX8Jw7Lvj1J4jKU9Ldw9EtwaENHYMx8EufFE1jZ6i-fG2cZhFgmmkFF7ShqoLgKKSG7Ys21eg98Vi4PFNcCVPnfgS6ViC4NvZ73mKhOtq5AeoEEktjIVBrM-JM8Zg2vi5Vbef/s320/41102C7A-CCC3-4FBE-87F0-4B3FBB5658C9.jpeg" width="270" /></a></div>
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Mary Abbott. 1957</div>
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A huge and wonderful piece - the best of her's I've yet to see.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6diJFSgo5VIUHwXVGJS3jCBDn4cl0BUOcILIPtWz-4U4Hq_G6QxXi0JNnLENpO2VcVc8KBn1OaPKs-aupRUYZxs3brJvBAco_70H68M0ulhzBP_Qw092hR6OP0en_d5m5NapV/s1600/807A448C-B31E-4255-AB65-321DAFEC6BB6.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="646" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6diJFSgo5VIUHwXVGJS3jCBDn4cl0BUOcILIPtWz-4U4Hq_G6QxXi0JNnLENpO2VcVc8KBn1OaPKs-aupRUYZxs3brJvBAco_70H68M0ulhzBP_Qw092hR6OP0en_d5m5NapV/s320/807A448C-B31E-4255-AB65-321DAFEC6BB6.jpeg" width="258" /></a></div>
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Jeff Kowatch</div>
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Quite large, quite goofy, and quite different from the blurry shapes that he painted below.<br />
(it was executed with oil sticks)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuaMZhaTJawLYuA0B1yn_HLX7aObm-aSh9uWFdVrcjbEUd5xQzlAipkCm63NQ3sxNYj7gftiaK4MZ_xhOS0V3QtGbWxGdfVY_c4XhpLiKXLKdrRftSWUy22c4M9t_g6O-mz7Xb/s1600/8B9DDC1F-9AF2-4921-98AB-5D0275CA54D5.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="716" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuaMZhaTJawLYuA0B1yn_HLX7aObm-aSh9uWFdVrcjbEUd5xQzlAipkCm63NQ3sxNYj7gftiaK4MZ_xhOS0V3QtGbWxGdfVY_c4XhpLiKXLKdrRftSWUy22c4M9t_g6O-mz7Xb/s320/8B9DDC1F-9AF2-4921-98AB-5D0275CA54D5.jpeg" width="286" /></a></div>
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Jeff Kowatch</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5RAzoeMC14TzpYL-ekeUWqnTsAKMKaBAztYCPB7Gahuu5eU4htnA1S-yJbTYXpc3wEswCvsi4Sb_L1zltmyNshchvbVkgmB8ieIv7w9OZQkFWWq0ILaRJQiDPXXfu7byIygR_/s1600/4CFF5C1A-B5BE-4E79-B47C-90A904A18639.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="685" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5RAzoeMC14TzpYL-ekeUWqnTsAKMKaBAztYCPB7Gahuu5eU4htnA1S-yJbTYXpc3wEswCvsi4Sb_L1zltmyNshchvbVkgmB8ieIv7w9OZQkFWWq0ILaRJQiDPXXfu7byIygR_/s320/4CFF5C1A-B5BE-4E79-B47C-90A904A18639.jpeg" width="274" /></a></div>
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detail</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAr2vkgrxDvefGGGkAoTEcYhAnGKk6H1XAps6CKfbQHP4bdSo6FHZke9XuXCvCl2l6P6J_n99-pUZKR4baJOB35OzAsX4sGYfGjuFcGqXR8vWTyD1fIvFJJwGk9QA7gz_sl_AF/s1600/3C18E176-8BD7-4FC4-9DBD-BE7D1C50DC32.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="563" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAr2vkgrxDvefGGGkAoTEcYhAnGKk6H1XAps6CKfbQHP4bdSo6FHZke9XuXCvCl2l6P6J_n99-pUZKR4baJOB35OzAsX4sGYfGjuFcGqXR8vWTyD1fIvFJJwGk9QA7gz_sl_AF/s320/3C18E176-8BD7-4FC4-9DBD-BE7D1C50DC32.jpeg" width="225" /></a></div>
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Paul Jenkins</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs7MmZNpyEP3-iXbflE9NfA-3Eq1L2F0BG2WZYe2zc3gX0VeYlP3XKu9TeKObD_Tg3uwYNQELYhX_ve2g4WHkUiz2DcL2Psnh2df47Tx1h3iRzqXGmKDjsmPJz2113C4UjNNsS/s1600/9C3BAE7B-3A0A-4E94-A2AD-C13E05DC7896.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="739" data-original-width="800" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs7MmZNpyEP3-iXbflE9NfA-3Eq1L2F0BG2WZYe2zc3gX0VeYlP3XKu9TeKObD_Tg3uwYNQELYhX_ve2g4WHkUiz2DcL2Psnh2df47Tx1h3iRzqXGmKDjsmPJz2113C4UjNNsS/s320/9C3BAE7B-3A0A-4E94-A2AD-C13E05DC7896.jpeg" width="320" /></a></div>
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Federico Herrero</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyGdW2wFQzogyqOiSlRR6x9FSgseGyqWdTbTXZNplVz_904oEstmcLsGL6VXnpYyshmkR6dNoqXsRuthyLqcqjCXFswAnhnTYr0ulW2QaDNQR9CgBPvoRXHz1PhWIaG4toKuyR/s1600/504D7508-1952-4B9D-93F9-D4FF4ED9CCF6.jpeg" imageanchor="1" style="-webkit-text-stroke-width: 0px; color: #0066cc; font-family: Times New Roman; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; margin-left: 1em; margin-right: 1em; orphans: 2; text-align: center; text-decoration: underline; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><img border="0" data-original-height="800" data-original-width="703" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyGdW2wFQzogyqOiSlRR6x9FSgseGyqWdTbTXZNplVz_904oEstmcLsGL6VXnpYyshmkR6dNoqXsRuthyLqcqjCXFswAnhnTYr0ulW2QaDNQR9CgBPvoRXHz1PhWIaG4toKuyR/s320/504D7508-1952-4B9D-93F9-D4FF4ED9CCF6.jpeg" width="281" /></a></div>
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Carrie Moyer.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNJcnZ74po2XS2q10icrShhxc8oYgi5IiPbAQlfYv-4tIeEz1f690aELYrcbjw6CJRQljZwV_FsIR36GpRv7GoDkqCVZtjFbH0eZepGkv_HiYazuxWDBLoPwttR6AJ8lSsrv4z/s1600/75B1EED6-3CD4-440E-ABAB-12EE003E80B4.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="785" data-original-width="800" height="314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNJcnZ74po2XS2q10icrShhxc8oYgi5IiPbAQlfYv-4tIeEz1f690aELYrcbjw6CJRQljZwV_FsIR36GpRv7GoDkqCVZtjFbH0eZepGkv_HiYazuxWDBLoPwttR6AJ8lSsrv4z/s320/75B1EED6-3CD4-440E-ABAB-12EE003E80B4.jpeg" width="320" /></a></div>
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John Santoro</div>
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Always one of my favorites in these shows.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXe-f_9z8dBhom6iirOmoFbyZXyKm3ipKeIvufS9AHzEhz_KnEHpa87OGnfhV2VMQlz_5E_amXGtFI7tCmMBHXMdWOSBSm4aZEYnouT0ubTINjYPgslNqOHGBfoAelwCHxZ8Hx/s1600/79C74551-52C3-4BE2-B5DC-83B65D01C7E8.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="792" data-original-width="800" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXe-f_9z8dBhom6iirOmoFbyZXyKm3ipKeIvufS9AHzEhz_KnEHpa87OGnfhV2VMQlz_5E_amXGtFI7tCmMBHXMdWOSBSm4aZEYnouT0ubTINjYPgslNqOHGBfoAelwCHxZ8Hx/s320/79C74551-52C3-4BE2-B5DC-83B65D01C7E8.jpeg" width="320" /></a></div>
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Angelina Gualdoni</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4VG4hr30TdR9BBXhGujtHEUaGHgN-3Ulu7p1jU8Ml68JHDvqdtpTerWj0OBnCm72I7vqUFa3Cjix1deo_nqMgUSRVMBLLcRJKagd4NjcuLD8eUD51mvJW74aOQ1H6T3xdq34g/s1600/86D2CB5A-0B1B-467B-A414-9BDBF197C070.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="657" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4VG4hr30TdR9BBXhGujtHEUaGHgN-3Ulu7p1jU8Ml68JHDvqdtpTerWj0OBnCm72I7vqUFa3Cjix1deo_nqMgUSRVMBLLcRJKagd4NjcuLD8eUD51mvJW74aOQ1H6T3xdq34g/s320/86D2CB5A-0B1B-467B-A414-9BDBF197C070.jpeg" width="262" /></a></div>
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Andrew Holmquist</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_A18uPFjwM08HM8mXidJXHu_nPwARzZsVEYFv1RCWVsH0x-XieEBs3qunuRLfs7zU-E_3b2c4OnJcNdcbc90-l7dZ7TG_ZAhfo6c1gH0Ci3hTIlveW987M6_5lW_wIiwe-uoS/s1600/C7819C83-1F1C-449E-875E-75AA72504D55.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="800" data-original-width="682" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_A18uPFjwM08HM8mXidJXHu_nPwARzZsVEYFv1RCWVsH0x-XieEBs3qunuRLfs7zU-E_3b2c4OnJcNdcbc90-l7dZ7TG_ZAhfo6c1gH0Ci3hTIlveW987M6_5lW_wIiwe-uoS/s320/C7819C83-1F1C-449E-875E-75AA72504D55.jpeg" width="272" /></a></div>
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Andrew Holmquist</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyydnblqnBUR4ywsX5EQ3t7jinzrCkLBy0Ppa-X3dzVlR0wwRBm9u3nFDNohSZnJFgAy0z2SWZLuLeqSuGh_EDZHh264YsxORNLoYLaCugoSxjMpQPSgp9f4mQfDznM0V4lGtX/s1600/379A0155-5722-4110-B4B1-1F7E4B3E76F1.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="797" data-original-width="800" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyydnblqnBUR4ywsX5EQ3t7jinzrCkLBy0Ppa-X3dzVlR0wwRBm9u3nFDNohSZnJFgAy0z2SWZLuLeqSuGh_EDZHh264YsxORNLoYLaCugoSxjMpQPSgp9f4mQfDznM0V4lGtX/s320/379A0155-5722-4110-B4B1-1F7E4B3E76F1.jpeg" width="320" /></a></div>
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Sean Scully</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSPDJ7SdmtsADSqKdinVBMbnMOhH6zc8T__EIfd0b1TQZfGV1AdSmsFPyF4Zo-Yn6PWjD-4dDn6ySEP6pfP9Lhmr8WnBMMLtmPOtQcBujCee-FUQS5pHrO2cZT_91v6Nsb-cpH/s1600/592CFA51-7B5D-4475-B580-A0FFC0FEDF7D.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSPDJ7SdmtsADSqKdinVBMbnMOhH6zc8T__EIfd0b1TQZfGV1AdSmsFPyF4Zo-Yn6PWjD-4dDn6ySEP6pfP9Lhmr8WnBMMLtmPOtQcBujCee-FUQS5pHrO2cZT_91v6Nsb-cpH/s320/592CFA51-7B5D-4475-B580-A0FFC0FEDF7D.jpeg" width="240" /></a></div>
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Ad Minoliti</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKpTEVtAK_8lYc_2I07Ns3uUyGUxbpl_aJ5-qCSd49-GeRSfOSceH1Exb2b0kMsElg9itwSQGJJZoEeECZiFlzjrvYMlP4gR5mtZgm4FblkEf2z2tsClc9lVJoXHI48O5T91qU/s1600/67584CFA-687B-45BD-9659-286D7C6D758D.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="631" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKpTEVtAK_8lYc_2I07Ns3uUyGUxbpl_aJ5-qCSd49-GeRSfOSceH1Exb2b0kMsElg9itwSQGJJZoEeECZiFlzjrvYMlP4gR5mtZgm4FblkEf2z2tsClc9lVJoXHI48O5T91qU/s320/67584CFA-687B-45BD-9659-286D7C6D758D.jpeg" width="252" /></a></div>
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Chung Sang-Hwa</div>
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A Go board ? The ruins of an ancient city?<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeR_3CO8nDnjBaubv6ojVUa2BHJNrm9mc_vCBqiR3Diyz0nK-pQQyGS_9Q4R2qaBFoJkclw9d1afkEGIDRfgGc9D1DUMlLxpki9cmlEXvEd3B-g4X0JdiOPr5DKQL5ja4UMlby/s1600/322365FB-6772-436C-AE9D-C762F01ED67B.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="798" data-original-width="800" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeR_3CO8nDnjBaubv6ojVUa2BHJNrm9mc_vCBqiR3Diyz0nK-pQQyGS_9Q4R2qaBFoJkclw9d1afkEGIDRfgGc9D1DUMlLxpki9cmlEXvEd3B-g4X0JdiOPr5DKQL5ja4UMlby/s320/322365FB-6772-436C-AE9D-C762F01ED67B.jpeg" width="320" /></a></div>
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William Dalziel</div>
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A self taught Chicago artist whose work only came out of his basement after his death. The subject matter relates to his experience as a ball turret gunner in the Army Air Corps in WWII.<br />
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It's anxiety reminds me of the paintings of Vietnam veteran Richard Olsen who showed at <a href="https://art.newcity.com/2017/12/29/war-paint-a-review-of-richard-j-olsen-at-zhou-b-art-center/">the Zhou B Art Center </a> in 2017.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivs2egrKIG7zOIZe9hT8S5pAI5_Qe34nWUT5x_Ka-oIf7pblQiAeHqygaRlz9uUdtIsE3E3KQqoOcCDRNoHnJEVWN9Urbu03eKhM02POO1HtBrSZBny-M7C_WuH5z0IdDtStAJ/s1600/53080354-7455-4820-9929-59F939170396.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivs2egrKIG7zOIZe9hT8S5pAI5_Qe34nWUT5x_Ka-oIf7pblQiAeHqygaRlz9uUdtIsE3E3KQqoOcCDRNoHnJEVWN9Urbu03eKhM02POO1HtBrSZBny-M7C_WuH5z0IdDtStAJ/s320/53080354-7455-4820-9929-59F939170396.jpeg" width="240" /></a></div>
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Vidvuds Zviedris</div>
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A monumental, and quite different, piece by one of my favorite local painters.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7joqrd1HhAQpVJjZZlkHP50Vx5GpzHS8g2AAJHVmw3z3hOQ3_ra5icSlN7twpJ6caPCDmEzjDX9TcyDHUPg_DRw0Xv_5D-bzNQE708ioZOvqlTUkdKP_0TBQaWveH-lMyhg3U/s1600/B0A3F2FD-AFB7-42BD-AEE3-17DF6CC5C5A5.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="758" data-original-width="800" height="303" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7joqrd1HhAQpVJjZZlkHP50Vx5GpzHS8g2AAJHVmw3z3hOQ3_ra5icSlN7twpJ6caPCDmEzjDX9TcyDHUPg_DRw0Xv_5D-bzNQE708ioZOvqlTUkdKP_0TBQaWveH-lMyhg3U/s320/B0A3F2FD-AFB7-42BD-AEE3-17DF6CC5C5A5.jpeg" width="320" /></a></div>
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Scott Anderson</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVhq6SyBHetwQo5eOUa-BdDL10VA_KsABcoVCgoP6Mtk8oC5Z9Ff5EQnTi-xeMWQcJAvE5VkfWOPIVL6hTCkBNREYKFwMOsqo8Gu9cEtvXOAQMVCPNxWA0DFbTlLZhb4CpXVW0/s1600/CC35902B-064A-4D2E-A0D0-E03BD65D91D0.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="730" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVhq6SyBHetwQo5eOUa-BdDL10VA_KsABcoVCgoP6Mtk8oC5Z9Ff5EQnTi-xeMWQcJAvE5VkfWOPIVL6hTCkBNREYKFwMOsqo8Gu9cEtvXOAQMVCPNxWA0DFbTlLZhb4CpXVW0/s320/CC35902B-064A-4D2E-A0D0-E03BD65D91D0.jpeg" width="292" /></a></div>
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Giorgio Cavallon, 1964</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiEy92AGb9zPjg2EPpFiNpp8x0nav3P-4g_CstC2kh5Po8T2TOpPigtwbTL9HtaLqxm9RoHPpuJfus6nm4QjGhkzNrgexP91_fQRwICoeEkLzOxNfq_mn8rvqqvLsYKwn3A6DW/s1600/D3F25616-CA32-4D42-9B7F-E25C1F7247AE.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiEy92AGb9zPjg2EPpFiNpp8x0nav3P-4g_CstC2kh5Po8T2TOpPigtwbTL9HtaLqxm9RoHPpuJfus6nm4QjGhkzNrgexP91_fQRwICoeEkLzOxNfq_mn8rvqqvLsYKwn3A6DW/s320/D3F25616-CA32-4D42-9B7F-E25C1F7247AE.jpeg" width="240" /></a></div>
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Dexter Dalwood</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHkp-k4so12-7amgRSKjGO1h7lF2wwWYFbrCPYwKslp-6mpypa4mAXyjnrZ0f8gdV-qfF3PNSLWCUOA98TraMZf-1KiEsQfUNnahmcMqbw7GGlNyuvoBQR_mV2ji8ddHY0Cxnz/s1600/06ABA85A-9591-458E-9261-E4FE068719C1.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="657" data-original-width="800" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHkp-k4so12-7amgRSKjGO1h7lF2wwWYFbrCPYwKslp-6mpypa4mAXyjnrZ0f8gdV-qfF3PNSLWCUOA98TraMZf-1KiEsQfUNnahmcMqbw7GGlNyuvoBQR_mV2ji8ddHY0Cxnz/s320/06ABA85A-9591-458E-9261-E4FE068719C1.jpeg" width="320" /></a></div>
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Dexter Dalwood</div>
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(Alan Koppel Gallery)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL4_2d73Nkgk48B4jgvPn48JNdGgnpKf7JA59QnttcqOc8yBYNJwoZQJlGx1n-zBxjtwkwy-JldZTxhDL5l-4DqUcaPFY3wFKwM_vdbvVF4AMR8JWO4x4cbIQf187ZQmu6Wie3/s1600/F49DC20A-5C88-40CD-A981-9F9063D6D907.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="529" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL4_2d73Nkgk48B4jgvPn48JNdGgnpKf7JA59QnttcqOc8yBYNJwoZQJlGx1n-zBxjtwkwy-JldZTxhDL5l-4DqUcaPFY3wFKwM_vdbvVF4AMR8JWO4x4cbIQf187ZQmu6Wie3/s320/F49DC20A-5C88-40CD-A981-9F9063D6D907.jpeg" width="211" /></a></div>
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Freidel Dzubas, 1982</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk1qGV4XOPeNKm6BrtpBEEpo8wTYGgzQzx_fTMAUTSPzgtk79-ECxE_Nt7VNImOaS0rBHGl__wGDhexibsz3M_as8_iDpi9qd_3u17yPZRK7MaADIaSB0DOGvL62bd0_ab1UnJ/s1600/F55D3E4C-FC9D-474E-B786-F82E616CDD46.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="707" data-original-width="800" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk1qGV4XOPeNKm6BrtpBEEpo8wTYGgzQzx_fTMAUTSPzgtk79-ECxE_Nt7VNImOaS0rBHGl__wGDhexibsz3M_as8_iDpi9qd_3u17yPZRK7MaADIaSB0DOGvL62bd0_ab1UnJ/s320/F55D3E4C-FC9D-474E-B786-F82E616CDD46.jpeg" width="320" /></a></div>
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Yvonne Thomas, 1949</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPst8DHflLRAriyKQg7xCARUyyQqIsoIFIgeoFGiq-aCpVajL9gGMppW_Kq0zOhf7izMqOFTB5CaF57XqBoV_6FVx3cNyBcW0o4-uHzTalkKCS3RpzI9SiMbDCpz9cDCEszOr5/s1600/D100D2AA-D30E-4C5E-9720-297F9046C599.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="598" data-original-width="800" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPst8DHflLRAriyKQg7xCARUyyQqIsoIFIgeoFGiq-aCpVajL9gGMppW_Kq0zOhf7izMqOFTB5CaF57XqBoV_6FVx3cNyBcW0o4-uHzTalkKCS3RpzI9SiMbDCpz9cDCEszOr5/s320/D100D2AA-D30E-4C5E-9720-297F9046C599.jpeg" width="320" /></a></div>
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the views from the windows of Navy Pier</div>
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are usually better than most of the paintings in the show.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVp007wJNKH3Gy0hKUZ_BpDcGg5oRZ4mHMOYDXCg8OJHI4kWPhMB7THkUGbv8r9Lw9JwMucV19WGDhHZTUUTdnI6hjHIHr60MvG9hC9E5Edt4LDGuyYisY_SJfgmKuwaeWtieB/s1600/MARY+QIAN.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1033" data-original-width="740" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVp007wJNKH3Gy0hKUZ_BpDcGg5oRZ4mHMOYDXCg8OJHI4kWPhMB7THkUGbv8r9Lw9JwMucV19WGDhHZTUUTdnI6hjHIHr60MvG9hC9E5Edt4LDGuyYisY_SJfgmKuwaeWtieB/s320/MARY+QIAN.jpg" width="229" /></a></div>
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Mary Qian</div>
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Mary Qian's </a> galleries do not show at Expo Chicago,</div>
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but this painting would have fit quite well</div>
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into the predominant theme of this year's show.</div>
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<br />chris millerhttp://www.blogger.com/profile/09575033275184403015noreply@blogger.com0tag:blogger.com,1999:blog-19047760.post-51706378564560201312019-08-01T09:03:00.002-05:002019-08-01T09:04:19.682-05:00Ludka Derke 1949-2019<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVcqp4b6qQr5Ja7gI3ADdQxLY3fA_8r1JmWY__s5IR-ZzWZXDp-9HcEiOjCoKLd-eu98J_cPxaaRggkIHbYXTWGG8cwTy4FSPHj9iGUxJhPDKMOvxWooiVH0CCjf_wqtS_bzKa/s1600/ludka+portrait2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="597" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVcqp4b6qQr5Ja7gI3ADdQxLY3fA_8r1JmWY__s5IR-ZzWZXDp-9HcEiOjCoKLd-eu98J_cPxaaRggkIHbYXTWGG8cwTy4FSPHj9iGUxJhPDKMOvxWooiVH0CCjf_wqtS_bzKa/s320/ludka+portrait2.jpg" width="238" /></a></div>
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What a sad day!</div>
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Just last week she was mountain biking in Peru.</div>
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Today, she's only a memory.</div>
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What a beautiful and extraordinary life.</div>
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I've only recorded a small part of it :</div>
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<a href="https://mountshang.blogspot.com/2006/05/ludka-goes-to-cambodia.html"> Cambodia</a>
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<a href="https://mountshang.blogspot.com/2007/09/ludkes-jewelry-on-oak-park-avenue.html">jewelry </a></div>
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<a href="https://mountshang.blogspot.com/2007/11/ludkes-journey-to-west.html">Nepal </a></div>
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<a href="http://mountshang.blogspot.com/2017/10/ludke-visits-solovetsky-monastery.html">Solovetsky Monastery </a></div>
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<a href="https://mountshang.blogspot.com/2010/08/ludkes-museum.html">Home and Collection </a></div>
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<br />chris millerhttp://www.blogger.com/profile/09575033275184403015noreply@blogger.com0tag:blogger.com,1999:blog-19047760.post-42957502121199750472019-07-07T10:43:00.000-05:002019-07-08T08:01:00.899-05:00In Praise of David Finn<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo3pdE4czOCMx2Ag_KPF-d0DK1PB4b1TJAK5A86XXPvuJRNc5KkF55Ycab9YGCac2jXHtq90TQreDSPq0fGHXTKymfKRX_dtOORPKinMmM9Mw_hzo5JD9d8r0g-z1IIQWVtolb/s1600/finn01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="615" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo3pdE4czOCMx2Ag_KPF-d0DK1PB4b1TJAK5A86XXPvuJRNc5KkF55Ycab9YGCac2jXHtq90TQreDSPq0fGHXTKymfKRX_dtOORPKinMmM9Mw_hzo5JD9d8r0g-z1IIQWVtolb/s320/finn01.jpg" width="246" /></a></div>
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Indonesia, 700 - 900 A.D.</div>
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While poking through a stack of old art magazines, the above suddenly caught my attention.</div>
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The photograph is obviously by David Finn, the long-time photographer for Sculpture Review, a publication of the NSS (National Sculpture Society)</div>
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Dedicated to public sculpture as practiced in America,<br />
that organization, and its magazine, barely interested me<br />
back when it was academic realist,<br />
and even less now that it's turned more conceptual. </div>
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Except for David Finn's photography of sculpture.</div>
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He seems to realize that sculpture is primarily not about stone or bronze or clay<br />
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-- it's about light --<br />
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and he attends to that light in a sensitive, emotive, and powerful way.</div>
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******</div>
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As it turns out -- this edition -- dated Summer 1998 -- was the last edition that he would produce. . He had served as editor-in-chief since 1992 and had contributed photography for many decades prior to that.<br />
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As he tells the reader in his farewell editorial, "For a variety of reasons this relationship has now come to an end". Perhaps he felt too old (he was 78 at the time) - or wanted to work on some other projects.<br />
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I'm guessing, however, that he quit because the NSS and its editorial board were taking the magazine in a more conceptual, confrontational, and post-modern direction for which Finn's astute aesthetic was no longer needed.<br />
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Here's a little gallery of the photos from that final edition. None have been credited -- but I'd be surprised if Finn didn't do them. They project a great love for these sculptures.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK9npkxLJDrPfdF94J5OGPmHyLzhUTfgIQU7KDF2unWEoQtoD62ROdKHGJga8pnqUJarPmRREJ_tQKd36hBqR-JqlXIVNANDv2h07PsVUY_RZ1wx8AXO1qLNe4QYSwOKk0XRLG/s1600/finn02.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="613" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK9npkxLJDrPfdF94J5OGPmHyLzhUTfgIQU7KDF2unWEoQtoD62ROdKHGJga8pnqUJarPmRREJ_tQKd36hBqR-JqlXIVNANDv2h07PsVUY_RZ1wx8AXO1qLNe4QYSwOKk0XRLG/s320/finn02.jpg" width="245" /></a></div>
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Bernini, Pluto abducting Proserpina, 1621-1622</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhpIyAz7cvD5d50cePQ7lBtuuNyyw7PjrXRxdR_WxD-45Yv8Asr35zIZvXtVlComsp6zZbub9Q0LhE3sOFrXtB-GPgkkcknazU1l-Q9cRYvmi986PqX8KH5LGADzrTtvkay1ND/s1600/finn02b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="773" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhpIyAz7cvD5d50cePQ7lBtuuNyyw7PjrXRxdR_WxD-45Yv8Asr35zIZvXtVlComsp6zZbub9Q0LhE3sOFrXtB-GPgkkcknazU1l-Q9cRYvmi986PqX8KH5LGADzrTtvkay1ND/s320/finn02b.jpg" width="309" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh608EEeBd9Hk5hSqC1DPpAY2Om1DoJ1R-MbJ9rR2Bb0AypRaDviLu_8TzL1hNR-XIRjPwsWriF2jsZG-XBjaqKP5GzYh3ENH-Gtoc8-TKj6CU-nfKVTNCioOjk68jmO1zT4as0/s1600/finn03.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="279" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh608EEeBd9Hk5hSqC1DPpAY2Om1DoJ1R-MbJ9rR2Bb0AypRaDviLu_8TzL1hNR-XIRjPwsWriF2jsZG-XBjaqKP5GzYh3ENH-Gtoc8-TKj6CU-nfKVTNCioOjk68jmO1zT4as0/s320/finn03.jpg" width="111" /></a></div>
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Egypt, Queen Arsinoe II, 270-246 B.C.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKI7DXahXEs0pj9RgABy9Kr9N4Isq6ntD7Xf1dNY4iX0zYCWCrByls7Zf7Dyrkvtl_KQC-rF5ZfvXUJSEVGKxM8Az0OQrYfljA7F0UtGm7DzYmbV1OglxTw0JhV9D41H2Y037N/s1600/finn04.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="792" data-original-width="359" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKI7DXahXEs0pj9RgABy9Kr9N4Isq6ntD7Xf1dNY4iX0zYCWCrByls7Zf7Dyrkvtl_KQC-rF5ZfvXUJSEVGKxM8Az0OQrYfljA7F0UtGm7DzYmbV1OglxTw0JhV9D41H2Y037N/s320/finn04.jpg" width="145" /></a></div>
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Egypt, 1295-1213 B.C.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin4m0daQLDYBXdQZM2cLUDBcs0ZOJ2_sd9yx3zZlJnNqVNy8Nm2pl52zTNquOmonPCde21FQ61-7mSuwv7OTCwFecWL8hsJEP4QPLQ19-nyo_UTBkIKVIqW_Ao1gnr9jUHISqB/s1600/finn05.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="638" data-original-width="800" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin4m0daQLDYBXdQZM2cLUDBcs0ZOJ2_sd9yx3zZlJnNqVNy8Nm2pl52zTNquOmonPCde21FQ61-7mSuwv7OTCwFecWL8hsJEP4QPLQ19-nyo_UTBkIKVIqW_Ao1gnr9jUHISqB/s320/finn05.jpg" width="320" /></a></div>
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Bernini, "Blessed Ludovia Albertoni", 1671-74</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKzPN1OhRjTgWDlke81GZJ_MKn4u5lAVr0-d_z8NTMEAq4I3e6tDXQsU09Hr91KAFsJ_jdqYeZJ4PMtt80EEoOIgk-C_NnxQM5mJrwNz3GdWl2y8mcuAtKvgKBB_QFDT49TW3T/s1600/finn06a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="754" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKzPN1OhRjTgWDlke81GZJ_MKn4u5lAVr0-d_z8NTMEAq4I3e6tDXQsU09Hr91KAFsJ_jdqYeZJ4PMtt80EEoOIgk-C_NnxQM5mJrwNz3GdWl2y8mcuAtKvgKBB_QFDT49TW3T/s320/finn06a.jpg" width="301" /></a></div>
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Bernini, angel from the Ponte Sant' Angelo, 1669</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirrAvLaB-l8zQEHpdTm_Y3NguphR5BCGQOJerDlndBaT-FlE49AO_-P3wcOhcTWZA_ic2OhGjnNzK-jFanW3iUDXQukyJDIVjyVYReNIiHlcAboBNwEF3s6Equ3ZRBLL-zVExc/s1600/finn06b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="746" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirrAvLaB-l8zQEHpdTm_Y3NguphR5BCGQOJerDlndBaT-FlE49AO_-P3wcOhcTWZA_ic2OhGjnNzK-jFanW3iUDXQukyJDIVjyVYReNIiHlcAboBNwEF3s6Equ3ZRBLL-zVExc/s320/finn06b.jpg" width="298" /></a></div>
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Bernini, The River Danube from the Fountain of the Four Rivers, 1651</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnrcTWdG66k5NpOR6_1J_gJzjtHHcdMvMlgfoRKJc1FDsk-7LRGvWMn-1Wb2lJw0vsyZiewZ95FJhvDYzUFBQ6Ia1rsUK4Qvaal9ga3T5EIk3RqEiNghjRvAfsLSiG0GwgvVin/s1600/finn07.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="369" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnrcTWdG66k5NpOR6_1J_gJzjtHHcdMvMlgfoRKJc1FDsk-7LRGvWMn-1Wb2lJw0vsyZiewZ95FJhvDYzUFBQ6Ia1rsUK4Qvaal9ga3T5EIk3RqEiNghjRvAfsLSiG0GwgvVin/s320/finn07.jpg" width="147" /></a></div>
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Japan, 19th Century ivory</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBFhNyBbbp_hiDVzLWxXyvFZVbSXjYVcacL0aq80PyK-u_-d469_lDRCAGHKBDKvVwjiOxzLCX1PpLyM40xlNnPIYyds9pG-IrvyxI0Gp6_g567NT4e2BIErJYdAuf0OcRgvTV/s1600/finn08.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="634" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBFhNyBbbp_hiDVzLWxXyvFZVbSXjYVcacL0aq80PyK-u_-d469_lDRCAGHKBDKvVwjiOxzLCX1PpLyM40xlNnPIYyds9pG-IrvyxI0Gp6_g567NT4e2BIErJYdAuf0OcRgvTV/s320/finn08.jpg" width="253" /></a></div>
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Bruno Lucchesi, details from "Creativity", 1998</div>
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<br />chris millerhttp://www.blogger.com/profile/09575033275184403015noreply@blogger.com0tag:blogger.com,1999:blog-19047760.post-47242662531689729252019-04-28T20:16:00.003-05:002019-05-02T21:59:08.688-05:00Arnheim on Cezanne<br />
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<div style="text-align: center;">
Madame Cezanne in a Yellow Chair, 1888-1890</div>
<div style="text-align: center;">
Art Institute of Chicago</div>
<br />
<div style="text-align: center;">
excerpted from </div>
<div style="text-align: center;">
"Art and Visual Perception - A Psychology of the Creative Eye"<br />
(1954/1974)</div>
<div style="text-align: center;">
by Rudolf Arnheim</div>
<div style="text-align: center;">
Chapter 1 : "Balance"</div>
<br />
<span style="color: yellow;">It follows from the foregoing discussion that an artist would interpret
human experience quite one-sidedly if he allowed balance and harmony to
monopolize his work. He can only enlist their help in his effort to give form
to a significant theme. The meaning of the work emerges from the interplay
of activating and balancing forces.</span><br />
<span style="color: yellow;"><br /></span>
<span style="color: yellow;"><br /></span>
<span style="color: yellow;">Cezanne's portrait of his wife in a yellow chair was painted
in 1888-1890. What soon strikes the observer is the combination of external
tranquillity and strong potential activity. The reposing figure is charged with
energy, which presses in the direction of her glance. The figure is stable and
rooted, but at the same time as light as though it were suspended in space. It
rises, yet it rests in itself. This subtle blend of serenity and vigor, of firmness
and disembodied freedom, may be described as the particular configuration of
forces representing the theme of the work. How is the effect achieved? </span><br />
<span style="color: yellow;"><br /></span>
<span style="color: yellow;">The picture has an upright format, the proportion being approximately
5 :4. This stretches the whole portrait in the direction of the vertical and reinforces the upright character of the figure, the chair, the head. The chair is
somewhat slimmer than the frame, and the figure slimmer than the chair.
This creates a scale of increasing slimness, which leads forward from the background over the chair to the foreground figure. Correspondingly, a scale of
increasing brightness leads from the dark band on the wall by way of chair
and figure to the light face and hands, the two focal points of the composition.
At the same time the shoulders and arms form an oval around the middle
section of the picture, a centric core of stability that counteracts the pattern
of rectangles and is repeated on a smaller scale by the head.
</span><br />
<span style="color: yellow;"><br /></span>
<span style="color: yellow;">The dark band on the wall divides the background into two horizontal
rectangles. Both are more elongated than the whole frame, the lower rectangle
being 3 :2 and the upper :2 :1. This means that these rectangles are stressing the
horizontal more vigorously than the frame stresses the vertical. Although the
rectangles furnish a counterpoint to the vertical, they also enhance the upward
movement of the whole by the fact that vertically the lower rectangle is taller
than the upper. According to Denman Ross, the eye moves in the direction of
diminishing intervals-that is, in this picture, upward.</span><br />
<span style="color: yellow;"><br /></span>
<span style="color: yellow;">The three main planes of the picture-wall, chair, figure-overlap in a
movement going from far left to near right. This lateral movement toward
the right is counteracted by the location of the chair, which lies mainly in the
left half of the picture and thus establishes a retarding countermovement. On
the other hand, the dominant rightward movement is enhanced by the asymmetrical placement of the figure in relation to the chair: the figure presses
forward by occupying mainly the right half of the chair. Moreover, the figure
itself is not quite symmetrical, the left side being slightly larger and thus again
emphasizing the sweep toward the right.</span><br />
<span style="color: yellow;"><br /></span>
<span style="color: yellow;">Figure and chair are tilted at about the same angle relative to the frame.
The chair, however, has its pivot at the bottom of the picture and therefore
tilts to the left, whereas the pivot of the figure is its head, which tilts it to the
right. The head is firmly anchored on the central vertical. The other focus of
the composition, the pair of hands, is thrust slightly forward in an attitude of
potential activity. An additional secondary counterpoint further enriches the
theme: the head, although at rest, contains clearly directed activity in the
watchful eyes and the dynamic asymmetry of the quarter profile. The hands,
although moved forward, neutralize each other's action by interlocking.</span><br />
<span style="color: yellow;"><br /></span>
<span style="color: yellow;">The free rising of the head is checked not only by its central location but
also by its nearness to the upper border of the frame. It rises so much that it is
caught by a new base. Just as the musical scale rises from the base of the key
tone only to return to a new base at the octave, so the figure rises from the
bottom base of the frame to find new repose at the upper edge. (There is, then,
a similarity between the structure of the musical scale and the framed composition. They both combine two structural principles : a gradual heightening
of intensity with the ascension from bottom to top; and the symmetry of bottom and top that finally transforms ascension from the base into an upward
fall toward a new base. Withdrawal from a state of rest turns out to be the
mirror image of the return to a state of rest.) </span><br />
<span style="color: yellow;"><br /></span>
<span style="color: yellow;">If the foregoing analysis of Cezanne's painting is correct, it will not only
hint at the wealth of dynamic relations in the work, it will also suggest how
these relations establish the particular balance of rest and activity that impressed us as the theme or content of the picture. To realize how this pattern
of visual forces reflects the content is helpful in trying to appraise the artistic
excellence of the painting.</span><br />
<span style="color: yellow;"><br /></span>
<span style="color: yellow;">Two general remarks should be added. First, the subject matter of the
picture is an integral part of the structural conception. Only because shapes
are recognized as head, body, hands, chair, do they play their particular compositional role. The fact that the head harbors the mind is at least as important
as its shape, color, or location. As an abstract pattern, the formal elements of
the picture would have to be quite different to convey similar meaning. The
observer's knowledge of what is signified by a seated, middle-aged woman
contributes strongly to the deeper sense of the work.</span><br />
<span style="color: yellow;"><br /></span>
<span style="color: yellow;">Second, it will have been noticed that the composition rests on point and
counterpoint-that is, on many counterbalancing elements. But these antagonistic forces are not contradictory or conflicting. They do not create ambiguity.
Ambiguity confuses the artistic statement because it leaves the observer hovering between two or more assertions that do not add up to a whole. As a rule,
pictorial counterpoint is hierarchic-that is, it sets a dominant force against a
subservient one. Each relation is unbalanced in itself; together they all balance
one another in the structure of the whole work. </span><br />
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<div style="text-align: center;">
**********<br />
**********</div>
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<i>I was intending to make this post a study of Thierry de Duve's 1993 essay about art education</i>, <a href="https://readings.design/PDF/ThierrydeDuveFormAttitude.pdf">"When Form has become Attitude -- and Beyond"</a> -- <i>but then I found an unfamiliar name whom he identified as one of "great modern theorists of art":</i><br />
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<span style="color: red;">All progressive pedagogues of this century, from Froebel to Montessori to Decroly; all
school reformers and philosophers of education, from Rudolf Steiner to John
Dewey, have based their projects and programmes on creativity; or rather, on the
belief in creativity, on the conviction that creativity - not tradition, not rules and
conventions - is the best starting point for education. Moreover, all great modern theorists of art, from Herbert Read to E. H. Gombrich to Rudolph Arnheim,
have entertained similar convictions and devoted considerable energy to breaking up the "visual language" into its basic components and demonstrating the
universality of its perceptive and psychological "laws".
</span><br />
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<i>Who was Rudolf Arnheim (1904-2007) and what did he have to say? That's when I discovered his book <a href="https://monoskop.org/images/e/e7/Arnheim_Rudolf_Art_and_Visual_Perception_1974.pdf">Art and Visual Perception</a> (1955/revised 1974)</i><br />
<i><br /></i>
<i>He shares the following quote from Ben Shahn: "</i><i>Form is the visible shape of content". <span style="color: lime;">***</span></i><br />
<i><br /></i>
<i>Or, to put it another way, content cannot be separated from form -- rather than the now prevailing assertion that content cannot be separated from context - i.e. political context - i.e. hierarchies of social power.</i><br />
<i><br /></i>
<i>One might note that Shahn's statement would suggest that content can be comprehended anywhere, any time, by anyone with a healthy mind and eye -- while in today's artworld, a valid account of context is required -- the validation of which is the business of those institutions which require it.</i><br />
<i><br /></i>
<i>Arnheim concludes chapter one with several paragraphs devoted to a painting by Cezanne that now hangs in my local museum. So hopping on the train, I went down to the Art Institute of Chicago yesterday to take a fresh look at it.<br />
<br />
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<br /><span style="color: lime;">*** </span>It should be noted that Arnheim devoted a chapter in this book to "Form" -- wherein he tells us that "</i><span style="color: yellow;">Whenever
we perceive shape, consciously or unconsciously we take it to represent something, and thereby to be the form of a content.</span>". <i> Shahn, however, used the word "form" quite differently.</i><br />
<i><br /></i>
<i>After he wrote that "<span style="color: red;">Form is the visible shape of content</span>" in his book, "The Shape of Content", he went on to write that "<span style="color: red;">there is a great deal of content that enters into the twists and turns of abstract-to-nonobjective form</span>"<br />
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<i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1fB9d-xdHi0QvQV8LowF08Ex5_3soVQohYQiTUtmpP8wvFLlcdBykTQ6MRL7KTN5IqTNBSIHV3gfwfkuy2laErAFTMotaMr7rpKxCuut-6KY8_-rqRagd-EXPIfp6l7DHPDRi/s1600/CEZANNE3B.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="655" data-original-width="782" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1fB9d-xdHi0QvQV8LowF08Ex5_3soVQohYQiTUtmpP8wvFLlcdBykTQ6MRL7KTN5IqTNBSIHV3gfwfkuy2laErAFTMotaMr7rpKxCuut-6KY8_-rqRagd-EXPIfp6l7DHPDRi/s320/CEZANNE3B.jpg" width="320" /></a></i></div>
<i>
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<br />Here's the painting in a bit more detail. Before discussing it, however, I'd like to briefly address the earlier part of Arnheim's discussion of "balance":</i><br />
<div>
<i><br /></i></div>
<div>
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<span style="color: yellow;">In short, just as a living organism cannot be described by an account of its
anatomy, so the nature of a visual experience cannot be described in terms of
inches of size and distance, degrees of angle, or wave lengths of hue. These
static measurements define only the "stimulus," that is, the message sent to the
eye by the physical world. But the life of a percept-its expression and meaning
-derives entirely from the activity of the perceptual forces. Any line drawn on
a sheet of paper, the simplest form modeled from a piece of clay, is like a rock
thrown into a pond. It upsets repose, it mobilizes space. Seeing is the perception of action
</span><br />
<span style="color: yellow;"><br /></span>
<span style="color: yellow;"><br /></span>
<span style="color: yellow;">Whether or not we choose to call these perceptual forces "illusions" matters little so long as we acknowledge them as genuine components of everything
seen. The artist, for example, need not worry about the fact that these forces
are not contained in the pigments on the canvas. What he creates with physical materials arc experiences. The perceived image, not the paint, is the work
of art.
</span><br />
<span style="color: yellow;"><br /></span>
<span style="color: yellow;"><br /></span>
<span style="color: yellow;">Why is pictorial balance indispensable ? It must be remembered that visually as well as physically, balance is the state of distribution in which all action
has come to a standstill. Potential energy in the system, says the physicist, has
reached the minimum. In a balanced composition all such factors as shape,
direction, and location are mutually determined in such a way that no change
seems possible, and the whole assumes the character of "necessity" in all its
parts. An unbalanced composition looks accidental, transitory, and therefore
invalid. Its elements show a tendency to change place or shape in order to
reach a state that better accords with the total structure.
Under conditions of imbalance, the artistic statement becomes incom·
prehensible. The ambiguous pattern allows no decision on which of the
possible configurations is meant. We have the sense that the process of creation
has been accidentally frozen somewhere along the way. Since the configuration
calls for change, the stillness of the work becomes a handicap. Timelessness
gives way to the frustrating sensation of arrested time. Except for the rare
instances in which this is precisely the effect the artist intends, he will strive
for balance in order to avoid such instability.
</span><br />
<span style="color: yellow;"><br /></span>
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<div style="text-align: center;">
figure 7 figure 8</div>
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<span style="color: yellow;">The above examples are adapted from a test designed by Maitland
Graves to determine the artistic sensitivity of students. Compare a and b in
Figure 7. The left figure is well balanced. There is enough life in this combination of squares and rectangles of various sizes, proportions, and directions,
but they hold one another in such a way that every element stays in its
place, everything is necessary, nothing is seeking to change. Compare the
clearly established internal vertical of a with its pathetically wavering counterpart in b. In b, proportions are based on differences so small that they leave the eye uncertain whether it is contemplating equality or inequality, symmetry or asymmetry, square or rectangle. We cannot tell what the pattern
is trying to say.</span><br />
<span style="color: yellow;"><br /></span>
<span style="color: yellow;">Somewhat more complex, but no less irritatingly ambiguous, is Figure Sa.
Relations are neither clearly rightangular nor clearly oblique. The four
lines are not sufficiently different in length to assure the eye that they are
unequal. The pattern, adrift in space, approaches on the one hand the symmetry of a crosslike figure of vertical-horizontal orientation, and on the other
the shape of a kind of kite with a diagonal symmetry axis. Neither interpretation, however, is conclusive. Neither admits of the reassuring clarity conveyed by figure 8b.
</span><br />
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<i>I like the idea that any mark placed on a sheet of paper is like a pebble thrown into a pond - producing the consequent waves of energy that ripple across the surface of the water (and mind)</i><br />
<i><br /></i>
<i>But when considering the four examples produced by Maitland Graves to "determine the artistic sensitivity of students" I fear that I might fail such a test.</i><br />
<i><br /></i>
<i>Rather than feeling that Figures 7b and 8a are "irritatingly ambiguous", I feel that they are enticing and soothing.</i><br />
<i><br /></i>
<i>Rather than feeling "enough life" in Figure 7a or a "reassuring clarity" in 7b, I feel that both are painfully tedious and annoying. To borrow Arnheim's words from further down the page -- I find them "intolerably static"</i><br />
<i><br /></i>
<i>But even if these examples produce a much different feeling in me than in Graves and Arnheim -- I still agree that 7a needs to be paired with 8b, while 7b is paired with 8a -- regardless of any conceivable context.</i><br />
<i><br /></i>
<i>And that demonstrable point is also important - maybe more so.</i><br />
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<span style="color: yellow;"><br /></span>
<span style="color: yellow;">The quest for balance, however, is not sufficient to describe the controlling
tendencies in human motivation generally or in art particularly. We end up
with a one-sided, intolerably static conception of the human organism if we
picture it as resembling a stagnant pool, stimulated to activity only when a
pebble disturbs the balanced peace of its surface and limiting its activity to the
reestablishment of that peace. Freud came closest to accepting the radical
consequences of this view. He described man's basic instincts as an expression
of the conservatism of all living matter, as an inherent tendency to return to
a former state. He assigned a fundamental role to the "death instinct," the
striving for a return to inorganic existence. According to Freud's economy
principle, man constantly tries to expend as little energy as possible. Man is
lazy by nature.</span><br />
<span style="color: yellow;"><br /></span>
<span style="color: yellow;"><br /></span>
<span style="color: yellow;">But is he? A human being in good physical and mental health finds
himself fulfilled not in inactivity, but in doing, moving, changing, growing,
forging ahead, producing, creating, exploring. There is no justification for the
strange notion that life consists of attempts to put an end to itself as rapidly
as possible. Indeed, the chief characteristic of the live organism may well
be that it represents an anomaly of nature in waging an uphill fight against
the universal law of entropy by constantly drawing new energy from its
environment.</span><br />
<span style="color: yellow;"><br /></span>
<span style="color: yellow;"><br /></span>
<span style="color: yellow;">This is not to deny the importance of balance. Balance remains the final
goal of any wish to be fulfilled, any task to be accomplished, any problem to
be solved. But the race is not run only for the moment of victory. In a later
chapter, on Dynamics, I shall have occasion to spell out the active counterprinciple. Only by looking at the interaction between the energetic life force
and the tendency toward balance can we reach a fuller conception of the
dynamics activating the human mind and reflected in the mind's products.
</span><br />
<br />
<i>I enthusiastically agree with the above text and find it quite inspirational.</i><br />
<i><br /></i>
<i>Arnheim's discussion of balance in Cezanne's portrait, however, is more problematic.</i><br />
<i><br /></i>
<i>Assuming that his target readership are college students who hardly ever go to art museums, it was not a bad idea for him to begin by directing their attention </i><i>to issues like proportion and movement. But the best and most thorough way to become sensitive to these and all other visual qualities in a painting is by copying it and then judging the copies. Ultimately, balance is an issue that involves the instantaneous impact of the painting as a whole. Compiling a verbal shopping list of balancing forces is a fool's errand.</i><br />
<i><br /></i>
<i>It was also not a bad idea for him to introduce facial and other body expressions into a discussion of balance. Cezanne has been quoted as demanding that his human models pose inertly, as if they were apples -- as would be appropriate for a painter who had an abiding interest in the structure of pictorial space. But even Cezanne did not paint his wife entirely as if she were an apple -- and the repressed emergence of her personality as a woman rather than a fruit might even be offered as the theme of this particular painting. </i><br />
<i><br /></i>
<i>Regarding Arnheim's conclusions, I certainly agree that "</i><i> the foregoing analysis of Cezanne's painting ... only hints at the wealth of dynamic relations in the work" -- but I would avoid any attempt to "</i><i>realize how this pattern of visual forces reflects the content ...in trying to appraise the artistic excellence of the painting" </i><i>The arrangement of forces belongs to the painting. All analysis and verbalized notions of content belong to the viewer. </i><br />
<i><br /></i>
<i>I would propose that judgment should directly follow the visual experience rather than any attempt to connect that experience to some verbal notion of content. </i><i>In a subsequent book,</i>
<i>Visual Thinking (1969), Arnheim challenges the differences between thinking versus perceiving and intellect versus intuition and critiques the assumption that language goes before perception and that words are the stepping stones of thinking. </i><br />
<i><br /></i>
<i>I did feel that something like "the combination of external tranquility and strong potential activity." is what first, and continuously, strikes me in the portrait of Madame Cezanne who seems to be trying very hard to hold still and stay in the same room with her husband. </i><i>To ask "how is the effect achieved", however, is to ask what even the artist himself could probably not answer.</i><br />
<i><br /></i>
<i>To quote from "A Few Words of a Kind" by Dylan Thomas:</i><br />
<i><br /></i>
<i><br /></i><span style="color: red;">You can tear a poem apart to see what makes it technically tick and say to yourself when the works are laid out before you the vowels the consonants the rhymes rhythms, “yes this is it this is why it moves me so it is because of it’s craftsmanship,” but you are back again where you began; the best craftsmanship always leaves holes and gaps in the works of the poem, so that something that is not in the poem can creep crawl flash or thunder in........ everything happens in a blaze of light"</span><br />
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chris millerhttp://www.blogger.com/profile/09575033275184403015noreply@blogger.com0tag:blogger.com,1999:blog-19047760.post-77424530567870299142019-03-28T12:23:00.000-05:002019-12-17T10:35:48.937-06:00Ten Painters of Chicago Cityscapes<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVvp-BkcOYavhFRgpfMD3fdlwfFJEFlizVD7F8cDox6rUk-zC3tpbPzaFMgiMA994ZM4Hg9tT1sy8K5xsROeDdK0ByNW8nmOF0OKrupK7l2E08GJRhAXB5mV1FPVqG8zviCt7o/s1600/ANDY+PACZOS.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="373" data-original-width="800" height="149" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVvp-BkcOYavhFRgpfMD3fdlwfFJEFlizVD7F8cDox6rUk-zC3tpbPzaFMgiMA994ZM4Hg9tT1sy8K5xsROeDdK0ByNW8nmOF0OKrupK7l2E08GJRhAXB5mV1FPVqG8zviCt7o/s320/ANDY+PACZOS.jpg" width="320" /></a></div>
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Andy Paczos
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These artists,<br />
though not necessarily these paintings,<br />
will be included in an exhibit of<br />
<span style="color: yellow;">Cityscapes of Chicago</span><br />
that will run September 3 through September 26, 2020<br />
at the Palette and Chisel Academy,<br />
1012 N. Dearborn in Chicago.<br />
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Finding these artists was not easy!<br />
It's taken over ten years<br />
of visiting about a thousand art exhibitions.<br />
(those reviewed are listed <a href="http://mountshang.blogspot.com/2008/10/my-career-as-art-critic.html"> here </a>)<br />
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Even then, I missed some very good ones<br />
who were introduced to me by Wendy Greenhouse,<br />
an historian of Chicago art.<br />
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I have certainly missed many others, as well,<br />
perhaps even the very best.<br />
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Note: none of the members<br />
of the Palette and Chisel Academy<br />
have been included,<br />
however a juried selection of their cityscapes<br />
will be shown concurrently<br />
in an adjoining gallery.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLbi6FwQQrGchkxlDUQV3Cvt9vd5KlAvH6mk9p8AngWBYmm5YxujtkMZOGsSfEWmmJfxScUSlTCywzlz1a9FlNSLSAaWo4udNYS4oDUnGdyTpcy2cSYsY82A9PU5SZJ9Op0c6g/s1600/brian+wells.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="625" data-original-width="800" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLbi6FwQQrGchkxlDUQV3Cvt9vd5KlAvH6mk9p8AngWBYmm5YxujtkMZOGsSfEWmmJfxScUSlTCywzlz1a9FlNSLSAaWo4udNYS4oDUnGdyTpcy2cSYsY82A9PU5SZJ9Op0c6g/s320/brian+wells.jpg" width="320" /></a></div>
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Brian Wells<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE7wevEbJkkcbnLuTpOSXqsokl4FauwftVC24HsNdeTvCJtehkqzz9Jpa1V5lZ6sCNQfZIyzeJsKOO9LphHBJl_hY9mRN1a0F0Yk234KufyO9i5SatulWtEMAUkON8ZZtTxRnO/s1600/david+rettker.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="578" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE7wevEbJkkcbnLuTpOSXqsokl4FauwftVC24HsNdeTvCJtehkqzz9Jpa1V5lZ6sCNQfZIyzeJsKOO9LphHBJl_hY9mRN1a0F0Yk234KufyO9i5SatulWtEMAUkON8ZZtTxRnO/s320/david+rettker.jpg" width="231" /></a></div>
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David Rettker
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxcVJi7Oqr2YalkLlZQDiwX68q9caFuxZemo8lGfog0x23xH3yj_Ig1ZHNRPOMrCKfjkSZvbEoR5X5EkTfQt7nnwtyYKfkYrTCz83_Ln4rAvwYUxcyq0B0t7wDlSjfUuxQHLbu/s1600/dmitry+samarov.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="588" data-original-width="800" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxcVJi7Oqr2YalkLlZQDiwX68q9caFuxZemo8lGfog0x23xH3yj_Ig1ZHNRPOMrCKfjkSZvbEoR5X5EkTfQt7nnwtyYKfkYrTCz83_Ln4rAvwYUxcyq0B0t7wDlSjfUuxQHLbu/s320/dmitry+samarov.jpg" width="320" /></a></div>
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Dmitry Samarov
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimSMz5nyKd71HIqzppHohoZLsNVWJhL1EbpDA_6FU842jl9l2owZ8rFCQGmRAgOBC11vKpI8ukaxsH3nxx-1gutuMDo8TzZV13TPJSXkKfQu8srmckdCe06FNwjCahZ1qyYgmq/s1600/emily+rapport.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="794" data-original-width="800" height="317" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimSMz5nyKd71HIqzppHohoZLsNVWJhL1EbpDA_6FU842jl9l2owZ8rFCQGmRAgOBC11vKpI8ukaxsH3nxx-1gutuMDo8TzZV13TPJSXkKfQu8srmckdCe06FNwjCahZ1qyYgmq/s320/emily+rapport.jpg" width="320" /></a></div>
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Emily Rapport
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7W0vukprWHr-IuhbPOBD_wVctWVPvZk-iZgtXKdjUj3xfyHIMbUxwjnkKriGV5_JoNRjqXxIK5szGBezpv_YTT3_n_Y4wEdRmc5gOE6Q4g_8yM_Zxe_oZ-YnhhmyM1qLFHJ-w/s1600/emmett+kerrigan.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="736" data-original-width="800" height="294" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7W0vukprWHr-IuhbPOBD_wVctWVPvZk-iZgtXKdjUj3xfyHIMbUxwjnkKriGV5_JoNRjqXxIK5szGBezpv_YTT3_n_Y4wEdRmc5gOE6Q4g_8yM_Zxe_oZ-YnhhmyM1qLFHJ-w/s320/emmett+kerrigan.jpg" width="320" /></a></div>
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Emmett Kerrigan
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Enrique Santana
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD7-dipR0CTfo5rMw8dmAg0OsbR_Wd65adnzRwH_SPaWdl42K-kDxPts3h8XPW9ZE4Gw5TCsV5A4BDte_rfKaLhZfMa3nL0qGxeyGvT0weNtiSmg2jYTR4l9kIaL384ivzoyzT/s1600/kevin+swallow.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="748" data-original-width="750" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiD7-dipR0CTfo5rMw8dmAg0OsbR_Wd65adnzRwH_SPaWdl42K-kDxPts3h8XPW9ZE4Gw5TCsV5A4BDte_rfKaLhZfMa3nL0qGxeyGvT0weNtiSmg2jYTR4l9kIaL384ivzoyzT/s320/kevin+swallow.jpg" width="320" /></a></div>
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Kevin Swallow
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHKA4lSrQy3L8fU3Vx041s3oQJJoysEtEZUOl8FQEgIkPlUx-JUhLZTqJZSubaM634zyYJm0_tkPagDKaMM0bUn-3o_pwW3uw67T-plOLV87NrW0DjMt1KiTPz8gVjf5qtiqqt/s1600/marion+kryczka.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="603" data-original-width="800" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHKA4lSrQy3L8fU3Vx041s3oQJJoysEtEZUOl8FQEgIkPlUx-JUhLZTqJZSubaM634zyYJm0_tkPagDKaMM0bUn-3o_pwW3uw67T-plOLV87NrW0DjMt1KiTPz8gVjf5qtiqqt/s320/marion+kryczka.jpg" width="320" /></a></div>
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Marion Kryczka<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfdNKTYZ3jkZdtuRAyywA74IZUbkXfBCkDsQnxYQICrvd2qVbH97KLU2yV7Pt31gznk4RsuOcycy4QfgXLz4Y2mneigqHo5am2yT6eaMiHOVkPVq7NHhEjSa5EROoOH0LI7Vhw/s1600/sandra+holubow.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="787" data-original-width="650" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfdNKTYZ3jkZdtuRAyywA74IZUbkXfBCkDsQnxYQICrvd2qVbH97KLU2yV7Pt31gznk4RsuOcycy4QfgXLz4Y2mneigqHo5am2yT6eaMiHOVkPVq7NHhEjSa5EROoOH0LI7Vhw/s320/sandra+holubow.jpg" width="264" /></a></div>
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Sandra Holubow
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Whoops -- looks like<br />
I couldn't stop at ten.<br />
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Here's some more:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7kvx_PDZ8X84rATcWAH46cCdciL9Rin5xEN5kq5ejkae3DWSdk8_scp6fBLDOtCj5Bj2S-ijS8p_KH8XrV13Utpmap2Z6ZvC9EYituqmYUifHKGPYKJukDUirDf6SuXzt-08-/s1600/chartow.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="503" data-original-width="1000" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7kvx_PDZ8X84rATcWAH46cCdciL9Rin5xEN5kq5ejkae3DWSdk8_scp6fBLDOtCj5Bj2S-ijS8p_KH8XrV13Utpmap2Z6ZvC9EYituqmYUifHKGPYKJukDUirDf6SuXzt-08-/s320/chartow.jpg" width="320" /></a></div>
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Art Chartow<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsz4EiJI6KVVxuF3JrhY7WAmTBkVjs9CfLNwstqs-H7CyxOmYqBQqXkJ4LHTliRCtW79OajKYwzF4xmOecxHDsFapnfbC6F0Wbt40Bn7B8s11NzGDK_WWqpmbaeH3oeRQAg_N2/s1600/From-Astor-Towers.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="750" data-original-width="750" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsz4EiJI6KVVxuF3JrhY7WAmTBkVjs9CfLNwstqs-H7CyxOmYqBQqXkJ4LHTliRCtW79OajKYwzF4xmOecxHDsFapnfbC6F0Wbt40Bn7B8s11NzGDK_WWqpmbaeH3oeRQAg_N2/s320/From-Astor-Towers.jpg" width="320" /></a></div>
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Albert Vidal</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgirrRcbGzvHFq0UvuJi9BRbIytkh3ZFf8sm9UH24ZMqID5k3JnJ-F34ZMFsxtbY_mZvsOF0VYbUrfKPNJaukuulRGUb2j-1McsoKNyKpy2omymUlgQLI7U_N-3Pob_W5JcHfuK/s1600/steele.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgirrRcbGzvHFq0UvuJi9BRbIytkh3ZFf8sm9UH24ZMqID5k3JnJ-F34ZMFsxtbY_mZvsOF0VYbUrfKPNJaukuulRGUb2j-1McsoKNyKpy2omymUlgQLI7U_N-3Pob_W5JcHfuK/s320/steele.jpg" width="240" /></a></div>
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William Steele<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUsk-HcnotdXAZ24uVlbcJoZI1Q84UtO0402G_yGDJVjNGKeX_cy47w2T2IsHSOr3psIpkSDT6h-6scuCYIII1T_DhNLJF_v_sPU8c_Q12AKQKM6sOGKWuAcdIgEYjZBvLbvxc/s1600/PHELAN+URBAN+GRID.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="397" data-original-width="800" height="158" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUsk-HcnotdXAZ24uVlbcJoZI1Q84UtO0402G_yGDJVjNGKeX_cy47w2T2IsHSOr3psIpkSDT6h-6scuCYIII1T_DhNLJF_v_sPU8c_Q12AKQKM6sOGKWuAcdIgEYjZBvLbvxc/s320/PHELAN+URBAN+GRID.jpg" width="320" /></a></div>
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Mary Phelan</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQgHxvdUWN-Zj04Ostvp1t5GBobI6d7NGw7s91YG2pGaBBWy1GVAw6xBq4rsm6UDGuP6GS6z-XMDiI8HM4-Rrg9Vb2s_wc7ZUEBUg-HMqrnErhDh10IV_repLLfn7oeypnbj-w/s1600/Mary++Arthur_The+Old+Colony+Bldg+Rooftop%252C+Chicago_Oil+2019.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="626" data-original-width="800" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQgHxvdUWN-Zj04Ostvp1t5GBobI6d7NGw7s91YG2pGaBBWy1GVAw6xBq4rsm6UDGuP6GS6z-XMDiI8HM4-Rrg9Vb2s_wc7ZUEBUg-HMqrnErhDh10IV_repLLfn7oeypnbj-w/s320/Mary++Arthur_The+Old+Colony+Bldg+Rooftop%252C+Chicago_Oil+2019.jpeg" width="320" /></a></div>
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Mary Arthur</div>
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<br />chris millerhttp://www.blogger.com/profile/09575033275184403015noreply@blogger.com0tag:blogger.com,1999:blog-19047760.post-35651206875894863032019-03-21T11:50:00.001-05:002019-03-25T13:44:22.976-05:00Qing Dynasty Jade Brushpot<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh71XfgkSsBJgdozWYTH0yG1S-SfvJq_PhOAaoP1xmkLtkh-fPhpBB9VjU98VbqYH0hW6IqA7Gi0BVqMsBma5JDIxtze046yFkVw4JV_aIF7YiNo7JEwSyNGVBruRW2a7mc54wQ/s1600/jade+whole.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="433" data-original-width="444" height="311" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh71XfgkSsBJgdozWYTH0yG1S-SfvJq_PhOAaoP1xmkLtkh-fPhpBB9VjU98VbqYH0hW6IqA7Gi0BVqMsBma5JDIxtze046yFkVw4JV_aIF7YiNo7JEwSyNGVBruRW2a7mc54wQ/s320/jade+whole.jpg" width="320" /></a></div>
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This Qing Dynasty six-inch jade brushpot just sold for $2,060,000 at Sotheby's. It depicts an imperial procession.<br />
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For the previous 118 years it was in the collection of the Art Institute of Chicago - but I don't remember ever seeing it.<br />
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I doubt that it has been on display recently. The gallery space for Chinese art was reduced significantly when the Roger Weston Galleries of Japanese Art was installed in 2010.<br />
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Here are some detail views:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTO_cQNXRSNtllnG8pkC4nqD1JQ-hSwUgtdVDRW6doybwkOjxhkRADnB-fcsjUDc-s0YNuPCsZnmY9LEPOAHAjVifEHHYuuSZos1w98GtM6wFhCBLJt4yk4mcy0EteXjszYkLN/s1600/jade+procession+qing2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="751" data-original-width="1001" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTO_cQNXRSNtllnG8pkC4nqD1JQ-hSwUgtdVDRW6doybwkOjxhkRADnB-fcsjUDc-s0YNuPCsZnmY9LEPOAHAjVifEHHYuuSZos1w98GtM6wFhCBLJt4yk4mcy0EteXjszYkLN/s320/jade+procession+qing2.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNUxhAI5Hxg4FBVlypZtkcgdznspIEaSV49oAPzqTFQKwBO9308hgjfi4CeaTCaUk-TckfmY6tY2e4dWyi50nJe2q5PvgLLnLvIdeS-P7GlfrfVt8PlRHAtUOfUhJAzMiI1syO/s1600/jade+procession+qing3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="889" data-original-width="1027" height="277" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNUxhAI5Hxg4FBVlypZtkcgdznspIEaSV49oAPzqTFQKwBO9308hgjfi4CeaTCaUk-TckfmY6tY2e4dWyi50nJe2q5PvgLLnLvIdeS-P7GlfrfVt8PlRHAtUOfUhJAzMiI1syO/s320/jade+procession+qing3.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWvjsb6qRV-NzuVAAArgwvU4ZhKnPLX-nbVPF75k6lCMdoSsdi563SbgqvolUsZPVV737MozPXQO8mEDuDCJUQWN2arMFBKuh3RK_oYGjV5C8kwGVfFpN1vI7th4sIk0GDOHIF/s1600/jade+procession+qing.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="877" data-original-width="996" height="281" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWvjsb6qRV-NzuVAAArgwvU4ZhKnPLX-nbVPF75k6lCMdoSsdi563SbgqvolUsZPVV737MozPXQO8mEDuDCJUQWN2arMFBKuh3RK_oYGjV5C8kwGVfFpN1vI7th4sIk0GDOHIF/s320/jade+procession+qing.jpg" width="320" /></a></div>
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I would call this a treasure of world art. It's subject matter - an imperial procession - and it's function - a container for writing brushes - celebrate the political and intellectual foundations of Chinese civilization. Its craftsmanship (it's only six inches high!) in an extremely hard material is amazing. No evaluation of its formal qualities, however, should be attempted without seeing the actual object.<br />
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As usual, the Art Institute made no announcement of the deaccession. Many thanks to Matt Morris for <a href="https://art.newcity.com/2019/03/20/art-institute-of-chicago-auctions-asian-artworks-from-the-collection/">bringing it to public attention</a> -- and for suggesting that the museum be more transparent about deaccessions by displaying the works one last time and sharing the reasons for cashing them out.<br />
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This is exactly what the <a href="https://art.newcity.com/2010/02/01/eye-exam-museum-secrets-revealed/"> DePaul Art Museum did in 2010 </a>when it mounted an exhibit of all the stuff it was selling off in preparation to move into its new facility.<br />
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The DePaul Art Museum even invited the public to vote thumbs-up or thumbs-down for each piece.<br />
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That vote was just a gag. Everything in the show was still removed from their collection. <br />
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And I would not pay much attention to the opinions of the great unwashed public either.<br />
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But I would like the museum to explain their decisions. It might make desist from deaccessioning when no good reasons can be given.. While, if the explanations are really good ones --- wouldn't they serve to edify the rest of us?<br />
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<br />chris millerhttp://www.blogger.com/profile/09575033275184403015noreply@blogger.com0tag:blogger.com,1999:blog-19047760.post-68989157433428703092019-01-31T11:53:00.000-06:002019-02-07T17:49:32.208-06:00Art in Chicago since 1945 I moved to Chicago in 1975 to be closer to the city's aging public sculptor, <a href="http://www.ilovefiguresculpture.com/masters/american2/horn/mhorn.html">Milton Horn </a>, an artist much closer to the 17th Century than to the late 20th. So I've never had much interest in Chicago's Museum of Contemporary Art. But I did go there in 1997 to view "Art in Chicago, 1945-1995" to learn something of the local art scene.<br />
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When first read, this review, published in the May, 1997 edition of <i>Art in America</i>, made
little sense to me. The artists were unfamiliar.<br />
<br />
Now, however, having spent the past ten years reviewing local art, I can recognize it's value. The author offers succinct and pithy comments on a dozens of local artists - most of whom are still showing in area galleries and museums.<br />
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Art in America - May, 1997</div>
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<span style="color: red;">"Where the Wild Things Were"</span> By Richard Vine</div>
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<br />
<br />
Is there-was there ever a Chicago aesthetic? Surveying work from the 50 years following World War II, a recent show at the city's Museum of Contemporary Art presented a complex history of movements, groups and individual talents in the nation's third-largest art center.
When it comes to contemporary art, not only can you not go home again,
you can't even visit. This point was powerfully, if unintentionally,
made by "Art in Chicago, 1945-1995," recently on view at Chicago's
Museum of Contemporary Art. Curator Lynne Warren's gathering of 187
works by 149 artists induced several distinct reactions. For viewers
unfamiliar with Chicago's critically neglected art scene, the show was
immensely informative. But it left insiders either picking nits
(mostly of the "who's in, who's not" variety) or, as in the case of
this erstwhile resident, touched by a nostalgia for the days when the
city's best work was vital and unpredictable rather than safely-and
somewhat deadeningly-catalogued.
<br />
<br />
<span style="color: yellow;">It's hard to argue with the irony of this situation - though it's been repeated every time that rebels become enshrined as icons: DeKooning, Picasso, Manet -- all the way back to the pioneer naturalists who designed the statuary for the Parthenon.</span><br />
<span style="color: yellow;"></span><br />
<span style="color: yellow;">The job of art criticism is to query whether such work still has value once it is no longer shocking and unpredictable. Vine's review doesn't really do that - for all its wit and information.
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<br />
And it's not "picking nits" to debate who's in and who's out of a regional survey of art. It's the most important issue - especially if entire categories of visual culture have been excluded. This show,for example, had zero naturalism or figurative idealism. There was no landscape painting or commissioned portraiture - no religious art of any kind - no depictions of athletes - no commercial advertising - no comic book illustration - no Asian brush painting - no calligraphy.<br /><br />
Overall, what's been excluded is any art that offers a positive, healthy, adult view of humanity.
</span><br />
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<br />
In this first full-scale survey of the postwar era in Chicago, every
attempt was made to be comprehensive and evenhanded. Kevin Consey,
current director of the MCA, initiated the project in 1990, reportedly
out of exasperation with another exhibition, "The Chicago Show" that
the museum had coorganized at the Chicago Cultural Center along with
the Art Institute of Chicago (AIC) and the Department of Cultural
Affairs. Conceived as a culturally diverse sampling of area artists,
"The Chicago Show" floundered when 84 of the 90 artists chosen by the
five-member blind jury turned out to be white. (The overall Chicago
populace is 39 percent black, 37 percent Anglo Caucasian, 20 percent
Hispanic, mostly of Mexican origin, and 4 percent Asian. In response
to protests, the organizers then inserted an apology into the
catalogue and extended invitation to 20 additional artists of color.
Of these, 10 rejected the gesture and subsequently mounted a
counter-exhibition at the Cultural Center. Chastened by this
experience, Warren, who has held various positions at the MCA for two
decades, worked on "Art in Chicago" with other staff members for five
years. In the process, she relied heavily on an advisory committee of
18 Chicago art-world worthies (ranging from arts program directors to
critic-historians to influential collectors) and on the feedback from
five public roundtables that involved some 200 arts-community
participants. To be considered for inclusion in the exhibition,
artists simply had to have lived and produced work in Chicago for a
reasonable period of time-regardless of their place of origin or
subsequent residence. Excluded were those who, like the much-missed
painter Robert Barnes, had a significant Chicago presence through
their work but no record of sustained domicile in the city. Having
served on the jury of the ill-fated "Chicago Show," Warren was
particularly careful to include a substantial number of black,
Hispanic and Asian-American artists. She also chose to personally
contribute (in a collaboration with assistant curator Staci Boris) a
catalogue essay that, instead of disclosing her overall vision of
Chicago art, concentrates on non-mainstream multicultural elements,
especially "community-based" murals.
<br />
<br />
<span style="color: yellow;">An interesting piece of history is recounted here. I did not see that show. In addition to excluding "black, Hispanic, and Asian-American" artists -- the show probably also excluded anyone, of any color, who worked outside academic norms </span><br />
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No matter how many precautions are taken, however, a show of this
nature can never completely satisfy it primary constituency, the
artists themselves. There was a tremendous self-consciousness about
this enterprise, an awareness that history was being made-or at least
proposed-through these curatorial selections and catalogue essays.
Thus it is not surprising that some artist felt unfairly passed over
(my own list of missing persons includes Andrea Blum, Terry Karpowitz
and Richard Loving), while others felt inappropriately represented by
early work. For example, in one of the show's more peculiar moves,
Edith Altman, now primarily known for spiritualized installations and
confessional performances dealing with her post-Holocaust survivor's
built, was represented by "Obuli #23" (1970), an abstract sculpture
composed of 24 obliquely stacked birch-wood ovals.
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<br />
<span style="color: yellow;">I am unfamiliar with the work of Blum, Loving, and Altman -- but I have seen a Terry Karpowitz piece, "Equilibrium", weekly ever since it was installed at the corner of Dearborn and Elm. I find it pleasantly boring......but it does feel appropriate for the tight urban space that it occupies.</span><br />
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The exhibition was distributed over 12,800 square feet in five
installments, each covering 10 years, and (except the pluralistic,
46-participant last) containing the work of 20-25 artists. (Research
assistant Dominick Molon curated a sixth segment, "Time Arts Chicago,"
dealing with film, performance, and video for the entire 50-year
period-another story in itself beyond the scope of this report.) The
vast majority of artists were limited to one or two works; only a few
of the best-known names appeared several times: e.g., four works
apiece by Roger Brown, Leon Golub, Jim Nutt, Ed Paschke, and H.C.
Westermann. The most striking feature of the exhibition as a whole was
the tension between the often irreverent, high-energy works on display
and the institutional sterility of their setting. An overly
conscientious survey-its effect was that of walking through an
encyclopedia-was installed in German architect Josef Paul Kleiheus's
grand-bland building. (It is a major irony that the MCA, identified
with a city widely admired for a superb architectural
tradition-Sullivan, Wright, Mies, Jahn-should, after a two-year
international search and $46.5 million expenditure, find itself newly
housed in a devitalizing shoebox. Here, the dutifulness of Warren's
choices was only intensified by the clinical, smallish galleries and
graceless central hallway that split the show disconcertingly in two.)
Essentially, "Art in Chicago" is what happens when you impose a
politically correct late-1990's sensibility, coupled with a
curatorship-by-committee approach, onto often wild-and-woolly work
that was originally produced without the least thought of social
responsibility or decorum. As I strolled-excuse me, assiduously worked
my way-through the show, I kept being struck by how earnest it made
everyone look, when in my experience, solemnity, without some
leavening or mania or absurdity, used to condemn a Chicago artist to
swift, dismissive ridicule. What, I wondered, had become of the sheer
effrontery I so fondly remember? To peruse the show's first section,
"A Decade of Momentum, 1945-1956," was to be immediately impressed
with the fact that most of the elements later associated with the
"Chicago style" were already at hand by the time enrollment at the
city's art departments swelled with the postwar influx of students of
the GI Bill. Surrealism, for example, much favored by Chicago's most
influential collectors, had been given intellectual cachet by Franz
Alexander's Institute for Psychoanalysis, in operation since 1932, and
was further boosted by the appointment of the Chilean painted Roberto
Matta to a visiting professorship at the School of the Art Institute
of Chicago (SAIC) in 1954. The Surrealist movement clearly affected
such seminal figures as Ivan Albright, whose "The Temptation of Saint
Anthony" (1944-45) resembles a Bosch painting refracted through a
blanket of prisms, and Gertrude Abercrombie, jazz-loving bohemian
hostess, analysand of Franz Alexander and mentor to the Imagist
impresario Don Baum. For decades Abercrombie produced symbol-laden,
psycho-autobiographical canvases like the flat-hued "The Courtship"
(1949), which depicts a long-gowned lady on a seashore, bracketed by a
phallic lighthouse and a vaginal moon sliver, being "robbed" (of what,
it's not clear) by a masked, finger-pointed bandit/suitor.
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<br />
<br />
<span style="color: yellow;">I also hate the design of the MCA building. It looks like a Gestapo police station.
But do we really don't want a gallery space to compete for attention with the art?</span><br />
<span style="color: yellow;"></span><br />
<span style="color: yellow;">And if art can't overcome a sterile setting -- how exciting can it be ?</span><br />
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<span style="color: yellow;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvZp8qLo0XPTThcKcuM2Z3Zr83DSFjvmUmwRuzuVO7UHv3sBHVe8-aWqifQ7XCuROzk9gXdOr4uRRLe3xKxA0Zk5JCIXEb7ygOc5bsX7hcL4DBD0KXO2A1b1DLGIZEjjUwntdK/s1600/abercrombie.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="511" data-original-width="600" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvZp8qLo0XPTThcKcuM2Z3Zr83DSFjvmUmwRuzuVO7UHv3sBHVe8-aWqifQ7XCuROzk9gXdOr4uRRLe3xKxA0Zk5JCIXEb7ygOc5bsX7hcL4DBD0KXO2A1b1DLGIZEjjUwntdK/s320/abercrombie.jpg" width="320" /></a></span></div>
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<span style="color: yellow;">Gertrude Abercrombie, "The Courtship", 1949</span></div>
<span style="color: yellow;">
<br />
<br />
<span style="color: yellow;">as noted </span><a href="https://art.newcity.com/2018/02/16/cats-moon-goddesses-and-visions-of-the-night-a-review-of-gertrude-abercrombie-at-the-elmhurst-art-museum/"><span style="color: yellow;">here</span></a><span style="color: yellow;"> I'm a big fan of this artist</span></span>
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<br />
But the landmark even of this period, repeatedly cited by the Chicago
art world's many oral historians, was Jean Dubuffet's 1951 exhibition
and lecture at the Arts Club, "anticultural Positions-a cri de coeur
for the work of the untrained, the undersocialized, and the mad.
Consequently, seeing the hand-annotated typescript of this talk in one
of the show's many excellent secondary material vitrines was akin to
beholding a long-inaccessible Art Brut relic.
Nevertheless, a semi-realist work conveying social commentary also
persisted from its '30s and '40s WPA heyday. The impulse could be
detected here, mixed with hints of existential symbology, in the
hatted, grid-trapped figures of June Leaf's 1956 "Arcade Women"
(kissing cousins to the men in her friend Seymour Rosofsky's 1958
"unemployment Agency).
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Seymour Rosofsky, , "Unemployment Agency"</div>
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<span style="color: black;">June Leaf, "Arcade Women"</span></div>
<span style="color: yellow;"></span><br />
<span style="color: yellow;"></span><br />
<span style="color: yellow;"></span><br />
<span style="color: yellow;"></span><br />
<span style="color: yellow;">These same two pieces were displayed near each other at an </span><br />
<a href="https://art.newcity.com/2016/03/16/review-monster-rostersmart-museum/"><span style="color: yellow;"> exhibition of the Monster Roster</span></a><span style="color: yellow;"> at the Smart Museum
</span><br />
<span style="color: yellow;">nearly twenty years later.</span><br />
<span style="color: yellow;"></span><br />
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<br />
It was yet more explicit in the impressionistic
works of black painters such as Archibald J. Motley, Jr., and Eldzier
Cortor, who showed, respectively, a crowded mixed-race street scene
and a collagelike study of young women sharing a bed in a small,
run-down room.
Ironically, Warren's good-faith attempts at racial equity, in this
section and throughout the show, only highlight a discomforting fact.
Despite the Great Migration that gave Chicago an enormous
African-American population and made it a hotbed for the country's
greatest indigenous art forms, jazz and blues-ah how refreshing in an
art catalogue to find an index entry for "Wolf, Howlin'"- the city's
visual-arts world has remained overwhelmingly white. To be sure, the
abstract sculptors Richard Hunt (three pieces shown) and Martin
Puryear (two pieces) have developed international reputations, but
most of the work by black artists included in this exhibition, like
much of the Hispanic material, had the air of a "make-good" effort-not
because it lacked artistic merit, but because it was so obviously a
conscience-soothing (and pressure-group-appeasing) addendum to the way
Chicago art history actually unfolded.
<br />
<br />
<span style="color: yellow;">The city's most celebrated living artist in 2018, Kerry James Marshall, is an African American with no apparent connection to the Imagists, the Monster Roster, or the Hairy Who.</span><br />
<span style="color: yellow;"></span><br />
<span style="color: yellow;">So it's quite possible that art historians in the near future will see Chicago art history unfolding quite differently that it was back in 1997.</span><br />
<br />
<br />
Sculpture-which in this first section ranged from an
African-influenced black marble head by Marion Perkins to Cosmo
Campoli's melodramatically figurative "Birth of Death" (1950) and two
elongated abstractions in thin welded steel rods by Joseph Goto-is
always something of an afterthought in one's take on Chicago; and so,
regrettably, was it treated in this survey. Scale may have been as
much of a problem as critical bias. The large-sized work produced in
Chicago during these decades could be only faintly suggested by such
examples as Steven J. Urry's jagged 7-foot-high loop of cut steel
("Blat," 1967) and a 7-foot-high John Henry assemblage of polished
aluminum bars ("Lafayette '61," 1981) that brought to mind Mark di
Suvero's productive stays in the city in 1963 and 1968-69. For the
most part, sculpture in "Art in Chicago" was limited to either
pedestal pieces or close-to-the-floor works. Examples included
Konstantin Milonadis's model-sized (and overly cute) steel sire
sailing ship, "Wave-Goer" (1964); Jerry Peart's painted-aluminum
"Escape" (1973), which resembles a diminutive Lichtenstein brushstroke
gone limp, and, more interestingly, an untitled 1993 Gary Justis work
that incorporates a motorized polished-aluminum strut extending nine
feet along the ground.
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<div style="text-align: center;">
Cosmo Compoli, "Birth of Death"</div>
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<br />
<span style="color: yellow;">Saw this piece at the recent Monster Roster exhibit at the Smart Gallery.</span><br />
<span style="color: yellow;"><br /></span>
<span style="color: yellow;"><br /></span>
<span style="color: yellow;">It was indeed monstrous.</span><br />
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<div style="text-align: center;">
Joseph Goto</div>
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Steven Urry</div>
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John Henry</div>
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Constantin Milonadis, "Wave Goer"</div>
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Jerry Peart, "Escape"</div>
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Gary Justis</div>
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Photography, on the other hand, asserted itself forcefully from the
beginning, with images by Harold Allen, Harry Callahan, Nathan Lerner,
Arthur Siegel, and Aaron Siskind on view in the initial section alone.
This strength was due largely to the fact that, since 1937, Chicago
has been home to the New Bauhaus, now called the Institute of Design
(ID) at the Illinois Institute of Technology (IIT). Founded by
Moholy-Nagy, the school has preserved Walter Gropius's emphasis on
industrial design and truth-to-materials (Buckminster Fuller was a
notable visiting lecturer in 1948-49) but also, like the original
Bauhaus, has integrated these concerns with modernist adaptations of
traditional arts. Alexander Archipenko, for example, served as the
first head of the modeling workshop, sometimes wielding his cane
against student work that displeased him.
Taking a cue form Moholy-Nagy's pioneering abstract photograms, the
ID's photography department has attained great distinction. Callahan,
Lerner, Siegel, Sisking, and Art Sinsabaugh all taught there for long
periods, encouraging generation of students to experiment with
lensless exposures, solarization, extreme close-ups and other
defamiliarization techniques, and to treat even ostensibly realistic,
sharp-focus images primarily as fields of visual design. This approach
also impacted photography instruction at the SAIC and other area
colleges. Thus later parts of the show, little affected by chronology
(or by recent strategies of appropriation), offered works of
remarkably consistent quality, whether the familiar category was
straight city scape (Yasuhiro Ishimoto, Sinsabaugh, Bob Thall), urban
formalism (Siskind), interpretive realism (Allen, Callahan, Barbara
Crane, Lerner, Siegel, Jane Wenger, Joe Ziolkowski), portraiture (Luis
Medina) or experimental fantasy (Kenneth Josephson, Joyce Neimanas,
Paul Rosin, Ruth Thorne-Thomsen).
A version of the Bauhaus esthetic had it most persuasive advocate in
another European exile, Mies van der Rohe, who lived in Chicago from
1937 to 1969, where he produced some of his best known structures
(e.g., the 860-880 Lake Shore Drive apartment towers, 1951, and S.R.
Crown Hall and other ITT campus buildings, 1959-67) and profoundly
influenced, to controversial effect, the workaday architecture of the
city's massive postwar urban renewal campaign (which consumed $24
billion in public funds between 1955 and 1960).
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Evelyn Statsinger, "Bountiful Landscape", 1976</div>
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Despite the elegant austerity of Mies's own designs, his taste in
painting and sculpture often ran to the figuratively fanciful,
yielding a personal collection, heavy on Klee and embracing Picasso,
that eventually included works by Chicagoans Evelyn Statsinger and
Westermann. He thereby gave further impetus to the short-lived
phenomenon of "Chicago-style" galleries that sold contemporary
furnishings alongside current arts works, and helped foster the
continuing tendency of local collectors to unite radically disparate
styles-particularly classic modernism and Outsider art-in a single
eclectic vision. One of Mies's students, the late A. James Speyer
(himself a significant private collector) served as curator of 20th
century painting and sculpture at the Art institute for 25 years
(1961-86).
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<span style="color: yellow;"><br /></span>
<span style="color: yellow;">Minimalism fits with Outsider Art as well as alienation fits with madness. </span><br />
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This esthetic witch's brew of emotive and rationalist factors
contributed to the event that gave the first section of "Art in
Chicago" its theme. "Momentum" refers not only to the accelerating
pace of artistic activity in Chicago after the war but also, beginning
in 1948, to a series of annual shows known as Exhibition Momentum,
directed against perceived effetism of scheduling policy at the Art
Institute. Founded in 1866 as the Academy of Design, this imposing
institution had split in 1882 in to an encyclopedic art museum, the
AIC, and its attendant academy, the SAIC, governed by a separate
board. From 1889 on, the museum mounted an "Annual Exhibition of
American Art." In 1947-largely though the influence of curator
Katharine Kuh, who for decades championed formally advanced (and
usually non-objective) contemporary art-the show was devoted to a
peculiarly Chicagoesque blend of "abstract and Surrealist American
Art." So vociferous was the political reaction-museum director Daniel
Catton Rich was denounced as a Communist sympathizer on the floor of
the U.S. Congress- that the AIC decided to modify it other signature
survey, the "annual Exhibition by Artists of Chicago and Vicinity," by
excluding undergraduate SAIC students (prone, then as now, to
provocative entries) from future jury consideration.
The response from neophyte artist was predictable, in type if not in
its high level of organizational sophistication. Demonstrations were
followed by the establishment of a counter-exhibition, jointly
organized by students from the SAIC and the ID. This, according to
catalogue essays by Franz Schulze and Peter Selz, was an odd match;
the SAIC participants were given to expressions of individualistic
depth psychology and social alienation; the ID crew to a utopian
vision of better living, both material and spiritual, through a
melding of art and design, tastefulness and mass manufacture. Out of
this dialectic, aided by activist efforts of then-young artists like
Golub and Ellen Lanyon, emerged a string of independent salons,
accompanied by well-designed catalogues, that drew high profile jurors
such as Alfred Barr, Jackson Pollock, Mies, and Max Weber. These
Exhibition Momentum shows gave early exposure to the work of aspiring
artists, many of whom are now forgotten some of whom-like Schulze (to
the outside world, Chicago's best known contemporary art critic)-went
on to related endeavors and a few of whom-like Golub-became art word
luminaries.
The title of the show's second section, "The Second City Rises,
1957-1965," was evocative of a distinct Chicago mind-set. More than a
reference to the tired, though undeniably real grudge that the
nation's then second largest town has long held against the first, New
York, it also played upon the title of the 1964 IIT show, "The Sunken
City Rises"-which in turn pointed to Chicago's historical emergence
form a swamp. (The city's name is derived from an Indian word for the
wild onions that once grew in the marsh.) The "this ain't no Venice-or
is it?" reaction prompted by that title revealed a characteristic mix
of envy, admiration and disdain for the Big Apple and Europe, offset
by an internalized agrarian ambivalence about cities per se, those
centers of sin forever luring away the Midwest's prodigal sons and
daughters. Much Chicago art implies a view of the metropolis itself as
a monster of the subconscious, risen threateningly into the light of
day. How could such a displacement and perversion of nature, a
Gomorrah already destroyed once by fire (in 1871) and now brashly
re-emergent, be anything but a menace to the family values of the
heartland? From this preconception, supplemented by the war traumas of
GI Bill artists like Golub and Campoli, came a tendency to emphasize
and exaggerate difference (from nature, from the old culture) and to
graphically celebrate peculiarity. Indeed, Schulze in 1959 dubbed the
major affinity group of this period the Monster Roster in reference
both to football's Chicago Bears (a.k.a. "the monsters of the Midway")
and, more soberly, to the sometimes gruesome figurative work produced
by Campoli, George Cohen, Dominick Di Meo, Golub, Theodore Halkin,
Leaf, Rosofsky and Statsinger, largely under the sway of the
semi-mystical Existentialism espoused by the war- veteran Golub.
Meanwhile, Westermann-acrobat, carpenter, wounded Marine Corps veteran
of both World War II and Korea, haunted witness to the kamikaze
devastation of the USS Franklin "death ship"- began producing the
whimsical, finely wrought sculptural houses and figure-based boxes
that gave imaginative license and high standards of craftsmanship, to
several generations of Chicago artists.
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H.C. Westermann, "Memorial to the Idea of Man, if he was an idea", 1958</div>
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H.C. Westermann, "USS Franklin Death Ship", 1976<br />
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Karl Wirsum, "Armpits", 1963<br />
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Don Baum, "Babies of Della Robbia", 1963</div>
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By 1961, Golub, Leaf, Westermann and Nancy Spero had all permanently
departed. But their legacy was manifest in the "Second City" section
in works like Karl Wirsum's "Armpits" (1963), a pinball-type oil on
canvas image of a woman with tufts of fur attached to her exposed
underarms, and Baum's 1963 "The Babies of della Robbia," a spooky
assemblage of white-sprayed, sometimes dismembered baby dolls with
closed eyes. Such pieces indulged-therapeutically, one hopes-a savage
playfulness that became increasingly characteristic of Chicago art in
these years. At the time, New York wasn't having any of this, thank
you. "New Images of Man," a 1959 show including Campoli, Cohen, Golub
and Westermann (alongside Dubuffet and Giacometti) that Selz, formerly
a teacher at the ID, organized for MOMA was thoroughly drubbed by the
critics.
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<span style="color: orange;">“The works on view constitute as disparate and uninteresting a group as has ever been assembled for a major museum show. . . . [Golub] seems to interest a few people whose opinion I greatly respect, and it may be that I’m blind to Mr. Golub’s virtues, [yet] I must say that I’ve seen very little outside the school studios that is so inflated, archaizing, phonily ‘expressive,’ badly painted, and generally ‘pompier.’ The only thing big about the result is its windiness.”</span>-- William Rubin director of the painting and sculpture department, MOMA, 1968-1988<br />
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<span style="color: orange;"> "rather than being the long awaited answer to Abstract Expressionism, the museum's monster show is confusion with wishful thinking buried under its sentimental hide"</span>... Manny Farber's review 'New Images of (ugh) Man' in <i>Art News</i><br />
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<i>New York Times</i> critic John Canaday referred to Westermann as <span style="color: orange;">"a guest who arrived in a clown suit, forty years late for a costume party, to find a formal dinner in progress." </span><br />
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<span style="color: yellow;">My review of a recent Monster Roster exhibit may be</span> <a href="https://art.newcity.com/2016/03/16/review-monster-rostersmart-museum/"> found here </a>
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Three years later, a similar reception was accorded MOMA's
"recent Painting USA: The Figure," which included Cohen, Golub and
Barnes. This rejection created psychological room to maneuver for
Chicago artists of other dispositions, such as the spiritual
abstractionist painter Miyoko Ito, the dedicated "soft geometry"
painter Roland Ginzel and the master collagist Robert Nickle. But,
above all, it strengthened the pro-expressionist, anti-new York
resolve of a new wave of Chicago artists-resulting in that rude
efflorescence known as Imagism.
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Miyoko Ito: "Mandarin" or "Red Empress", 1977</div>
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<span style="color: yellow;">I now like several of the artists who were in this show</span><br />
<span style="color: yellow;">…..but I like Miyoko the most!</span><br />
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Roland Ginzel</div>
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Robert Nickle: 50 Cents, 1968-73</div>
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<span style="color: yellow;"><br /></span></div>
<span style="color: yellow;">Did these artists really need a discourse by New York art critics for a "psychological room to maneuver" ? I'm skeptical.</span><br />
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Roger Brown, "Entry of Christ into Chicago 1976", 1976</div>
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The Entry of the Imagists into Chicago, 1966-1976" the show's third
(and in every sense central) section, took its title from a wry 1976
Brown canvas ("The Entry of Christ into Chicago in 1976") loosely
based, in turn, on an 1888 James Ensor work depicting the Messiah's
arrival in Brussels. In all three cases, a play is made-with varying
degrees of irony-on the idea that the Logos, however ill-received,
could erupt in one's own hometown, one's own life. (In Brown's
picture, Christ arrives on the back of a flatbed truck-a pretty
reasonable update of entering Jerusalem on a donkey.) This is indeed
the grandiose role accorded to the Imagists in Chicago art-world
legend, and in critical perception on the East Coast and beyond.
The group's hegemony was established through a series of galvanizing
exhibitions organized by Baum in the mid-'60s and early '70s. outside
of Imagist circles, these shows and artists-indeed, any Chicago artist
whose work is both figurative and funky (e.g. Hollis Sigler, with her
faux-naif paintings of little lost women whose lot is mused upon in
inscribed texts, or Robert Lostutter, who produces eerie, glowingly
colored, close-up watercolor renderings of bound figures and men in
gorgeous feather masks)-tend to get lumped promiscuously together,
sometimes along with the Monster Roster as well.
In fact, the Imagists were never a formal group with a creed; rather,
they were a curatorial invention that, like Frankenstein's creature,
took on a life of its own. Named in the spirit of a rock group, the
three "Hairy Who" exhibitions at the Hyde Park Art Center (1966, '67,
and '68)-Hyde Park is the area around the University of Chicago, a
middle-class enclave in the midst of the South Side ghetto-encompassed
James Falconer, Art Green, Gladys Nilsson, Nutt, Suellen Rocca, and
Wirsum. "Nonplussed Some" (1968) was most notable for introducing
Paschke. "False Image" (1968) presented Brown, Eleanor Dube, Phil
Hanson and Christina Ramberg. "Marriage Chicago Style" (1970) featured
Barbara Rossi, the Hairy Who and Paschke, some of whom also
participated in "Chicago Antigua" (1971). (Given the "bad boy"
reputation of the Imagists, it is interesting to note that almost half
of these artists were in fact women, at a time when few, if any New
York movements could claim a comparable percentage.)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr0i4h-aZyTDZX4d5-065lpEVvK4p88DdbCTovEUe6O39LSNX7l8c9dUBWHE0jDRWCS3RrfSkEy3ySCsg1qub8RJ5ic1BgXG1Hz5QMEocPLR8yIvee8ZG_KoALSsogX2sHdZ-o/s1600/falconer.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="797" data-original-width="800" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr0i4h-aZyTDZX4d5-065lpEVvK4p88DdbCTovEUe6O39LSNX7l8c9dUBWHE0jDRWCS3RrfSkEy3ySCsg1qub8RJ5ic1BgXG1Hz5QMEocPLR8yIvee8ZG_KoALSsogX2sHdZ-o/s320/falconer.jpg" width="320" /></a></div>
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James Falconer: "Morbid Sunshine by a Miner Artist", 1966</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4ZLpjGK8Fn7e-eOZeoUlhNe2YoK01bxNYHigxi9DgGTwjqkHDBmDdy_wN-SLBf0eBJfZ0ZhrA0PypNNebeJflfoDvpbvxwCG5BUzMJaCNm6Xsj195WA26hLS-h4MgJNG8IGUx/s1600/green.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="550" data-original-width="800" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4ZLpjGK8Fn7e-eOZeoUlhNe2YoK01bxNYHigxi9DgGTwjqkHDBmDdy_wN-SLBf0eBJfZ0ZhrA0PypNNebeJflfoDvpbvxwCG5BUzMJaCNm6Xsj195WA26hLS-h4MgJNG8IGUx/s320/green.jpg" width="320" /></a></div>
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Art Green, "Examine the Facts, Consider the Options, Apply the Logic", 1965-66</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6rTmehuiCEsQjMCIRx4j9KvwvofG6jbdaTuG_WrPg_FoUj7Jk22S8TmDVITzbqNyNQ4Byg-n-_tDXsydf3LqbNYg4eGlT9TxP9zd1nYG2hwxA5t6rvGyGzo2xOAnTTzoBQMmP/s1600/dube.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="476" data-original-width="672" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6rTmehuiCEsQjMCIRx4j9KvwvofG6jbdaTuG_WrPg_FoUj7Jk22S8TmDVITzbqNyNQ4Byg-n-_tDXsydf3LqbNYg4eGlT9TxP9zd1nYG2hwxA5t6rvGyGzo2xOAnTTzoBQMmP/s320/dube.jpg" width="320" /></a></div>
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Eleanor Dube : "Cut Out", 1968</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLYfMZHnH0mf-jLlZoeQ-JMWcXtQWDr3MgmqAXN6sbIAWfp7NM8KhQXYkH9FyBCi-D_r-OAC9I8sNs5SHLs9wv8k56wzliZbVgGbDntOjon3KV-LMKfWxCqnxl0sg6gfYjStlY/s1600/hanson.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="760" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLYfMZHnH0mf-jLlZoeQ-JMWcXtQWDr3MgmqAXN6sbIAWfp7NM8KhQXYkH9FyBCi-D_r-OAC9I8sNs5SHLs9wv8k56wzliZbVgGbDntOjon3KV-LMKfWxCqnxl0sg6gfYjStlY/s320/hanson.jpg" width="304" /></a></div>
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Phillip Hanson, "Rousseau's Lily", 1972</div>
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Respectability of sorts began to accrue to the Imagist "members" with
the exhibition "Don Baum Says: 'Chicago Needs Famous Artists'" (1969),
a rec-room-style installation in the old MCA's basement, complete with
a cleaned-up, multi-duct furnace. Four years later, their apotheosis
came in "Made in Chicago," a show that Baum organized for the twelfth
Sao Paulo Bienal (1973), and which traveled in an expanded version to
the Smithsonian in 1974 and "returned" to the MCA in 1975. This
triumphal march, coinciding with the 1972 publication of Schulze's
"Fantastic Images: Chicago Art Since 1945" (from which Imagism takes
it name) gave vitality- and a measure of cogency- to conspiracy
allegations such as those made in the New Art Examiner, launched by
Chicago's Jane Allen and Derek Guthrie in 1973 with the express intent
of demonstrating that the Midwest produces much art besides goofy,
sexually charged figuration. However closely or loosely knit their
association, these artist do share a preoccupation with aggressive
figure-based imagery, allover composition, florid color and
obsessively fine surface treatment. Although their work arose
contemporaneously with Pop and draws upon similar sources, it is
invested not with dispassionate irony but with comic horror, a frantic
laughter in the face of mortality.
One of the more interesting presentational gambits in "Art in Chicago"
was a small room that attempted to simulate the third "Hairy Who"
installation, which entailed floral linoleum on the walls and wall
paper on the floor, the whole mixing classing wonderfully with the
often intensely pattered works on display. Next door, the "1968 Room"
organized by Boris offered countercultural posters and a video using
vintage news footage to advance the dubious claim that Chicago artists
were exceptionally political around the time of the infamous
Democratic National Convention riots. Chicago's cooperative murals,
supposedly the nation's first, are described as a pointed response to
oppression in black and Latino neighborhoods. But this is essentially
a reflection of what activists in other cities have found valuable in
Chicago. On the home front, the period did give rise to several
cultural organizations and to one noteworthy artists' group, the Black
Panthers influenced AfriCobra (African Commune of Bad Relevant
Artists)-but their impact upon the Chicago art world seemed
considerably less at the time that some revisionists, dominating the
catalogue, would today like to believe. Closer to the art historical
mark was the show's highlighting of fantasy works by three untrained
talents (two black and one white, if you're counting): Joseph Yoakum,
Henry Darger and Lee Godie, all of whom captivated the Imagists.
Yoakum (1886/88-1972), the son of a former slave, claimed to have been
born on an Indian reservation and to have traveled the world as a
performer for several circuses and for Buffalo Bill's Wild West Show.
During the last 10 years of his life, spurred by religious dreams, he
produced an enormous number of colored drawing (at times incorporating
tracings from National Geographic) that depict idealized landscaped of
sinuous natural formations in a nonperspectival space.
The reclusive, perhaps mentally damaged Darger (1892-1973), who worked
as a school janitor, spent some 40 years developing a 19,000 page text
and picture epic about young girls (frequently sporting penises)
imperiled by mysterious alien invaders. His figures, usually traced or
collaged from children's picture books, inhabit brilliantly hued
landscapes that often completely fill both sides of his folding,
multisheet, yards-long pages. Godie (1908-1994), a self-styled "French
Impressionist," was a big lady who would occasionally paint her own
face to match those of the "glamour girls" she routinely portrayed in
colored drawings that she hawked on the streets for 20 years
(1968-88). Her sharp-lined renderings, which also sometimes pictured a
contemporary "Prince Charming," are filled in (with pencil, oil
pigment, crayon, even lipstick) in a blatantly two-dimensional,
nonmodeled fashion that influenced many of the artists and SAIC
students who bought and learned form her. (If the organizers had been
really on the beam, they would have included photos of the
long-demolished River View Amusement Park and sample side-show tarps
by Snap Wyatt, a figure much admired-and collected-in the Imagist
milieu.)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvJhBzJUWSG2i_juLbDWAJbNwmpw0ZtwlpNgqPG6tJU8pWtnGM3Esowd117qJSZe_7acD5AniOQGvQgBvFCa7XaDP5sb-pMh1XFokQ30u0Fg9tkJW2jiqgKQ3f_7GPQtTkpPy7/s1600/snap.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="374" data-original-width="394" height="303" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvJhBzJUWSG2i_juLbDWAJbNwmpw0ZtwlpNgqPG6tJU8pWtnGM3Esowd117qJSZe_7acD5AniOQGvQgBvFCa7XaDP5sb-pMh1XFokQ30u0Fg9tkJW2jiqgKQ3f_7GPQtTkpPy7/s320/snap.jpg" width="320" /></a></div>
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Snap Wyatt, c 1950</div>
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This dynamic cycle - flowing from vernacular sources
(especially comix, back -page advertisement, old toys, Outsider art,
pornography and carny ephemera) to the art school classroom to the
studio-was actively encouraged by SAIC artist-teacher Ray Yoshida,
known for his rank-and-file formation cutouts and for eye-dazzling
patterned-figure paints like the show's "Jizz and Jazz" (1971).
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCKn3F97MDVZCFTQKffcgFKcQbZrLraFqBnCG-4q7DgPlMzJXab5zo_U5P69XKAKftXh7uk0Vn3rF2-2OOYTnFv6L8BGAGt98SkwznYOP50m5jTNDYr5F7fL9ms9L_soureGZH/s1600/yoshida.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="617" data-original-width="500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCKn3F97MDVZCFTQKffcgFKcQbZrLraFqBnCG-4q7DgPlMzJXab5zo_U5P69XKAKftXh7uk0Vn3rF2-2OOYTnFv6L8BGAGt98SkwznYOP50m5jTNDYr5F7fL9ms9L_soureGZH/s320/yoshida.jpg" width="259" /></a></div>
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Ray Yoshida, "Jizz and Jazz", 1971</div>
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Meanwhile, Whitney Halstead, who taught art history at the SAIC,
exposed his students to a wide range of formal influences-both Western
and non-Western, mainstream and other-through repeated visits to the
ethnographic collections of the Field Museum of Natural History and
through his in-class use of some 60,000 lecture slides that
encompassed images from every corner of the globe. The titles of the
last two sections, "The Bit Picture, 1977-1985" and "(Un)assigned
Identities, 1986-1995," were a tacit admission that, for better or for
worse, Chicago has produced no single movement in the last 20 years
that seizes the imagination with the force of the Monster Roster or
the Hairy Who. Instead, the local scene has exfoliated into one of
global pluralism, played out against the lingering legacy of Imagism.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVGhzLaICTPQxDlLHAH-rkyIprNzsA4NG_I2RVMvilDky8zIm25j4uDI-cT5gfyh41T8h_BpXE96s7AsILJqRSyVgACWwyXVDROrsjKVFAK9RpE9376Pk2i7wEh8kwr0yhqAlQ/s1600/piatek.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="719" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVGhzLaICTPQxDlLHAH-rkyIprNzsA4NG_I2RVMvilDky8zIm25j4uDI-cT5gfyh41T8h_BpXE96s7AsILJqRSyVgACWwyXVDROrsjKVFAK9RpE9376Pk2i7wEh8kwr0yhqAlQ/s320/piatek.jpg" width="287" /></a></div>
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Frank Piatek, "Hierosgamos 11", 1967</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4UefXzxG-AhMxay6N5AxnuxBCRR-KiBnmzTD0Cid2yTe5I0W5YrxHVwZ-CNmvfqLkJUzdNPPruAQWGbTTM8NIfpeySxkWurkT5Ww89PO5Bb0bgsBnViklQ3KYYClN05AnmEYe/s1600/loving.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="484" data-original-width="655" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4UefXzxG-AhMxay6N5AxnuxBCRR-KiBnmzTD0Cid2yTe5I0W5YrxHVwZ-CNmvfqLkJUzdNPPruAQWGbTTM8NIfpeySxkWurkT5Ww89PO5Bb0bgsBnViklQ3KYYClN05AnmEYe/s320/loving.jpg" width="320" /></a></div>
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Richard Loving, Chatterly, 1968</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPAd41aI9s7ZlFZP_vuFNs0ODPiPY2Rt1hYr-L3kqj1dmYjWuWDPFBnC-LZQjPBXx73s6vJha52KDPtJsPlQRRVYlr7n0HTSSDws5Xkq5UVKAYs-7BFH_lA8EKo-XaV2Nn4UwG/s1600/klement1967.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="712" data-original-width="800" height="284" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPAd41aI9s7ZlFZP_vuFNs0ODPiPY2Rt1hYr-L3kqj1dmYjWuWDPFBnC-LZQjPBXx73s6vJha52KDPtJsPlQRRVYlr7n0HTSSDws5Xkq5UVKAYs-7BFH_lA8EKo-XaV2Nn4UwG/s320/klement1967.jpg" width="320" /></a></div>
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Vera Klement, "Tree Tops", 1967</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGopTYqfxcb4HyI-G1dO-E2M2vMGMGhOxyjXTSm5YWa4yKOTqycVolqNHqFZNsU32u7V8w0QipH4Hua0B0dLPLqk5bRWQNXaRa1hf0mxEKxYafqSp2juZ6YNnTdcZ_tEFSdYtU/s1600/conger+1970.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="410" data-original-width="372" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGopTYqfxcb4HyI-G1dO-E2M2vMGMGhOxyjXTSm5YWa4yKOTqycVolqNHqFZNsU32u7V8w0QipH4Hua0B0dLPLqk5bRWQNXaRa1hf0mxEKxYafqSp2juZ6YNnTdcZ_tEFSdYtU/s320/conger+1970.jpg" width="290" /></a></div>
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William Conger, 1970</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5WY939dI5GRfqkZP1UDxtPcj-u2DZ09E4tvUycMbUWA24C2Y97jSlGSJ1ZHlTwWxwLnVy-pyBWpa4iftl01XTD-_H7QwZ4DCaRhqjhykuWCtQeE6yoN2nAPegJyEguzp5wTAT/s1600/ito+-1964.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="700" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5WY939dI5GRfqkZP1UDxtPcj-u2DZ09E4tvUycMbUWA24C2Y97jSlGSJ1ZHlTwWxwLnVy-pyBWpa4iftl01XTD-_H7QwZ4DCaRhqjhykuWCtQeE6yoN2nAPegJyEguzp5wTAT/s320/ito+-1964.jpg" width="311" /></a></div>
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Miyoko Ito, "Pyramid of Silence", 1964</div>
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An attempt at counter-Imagists groups had been made as early as 1971
when a handful of abstract painters-only one of whom, Vera Klement,
was included in Warren's selection-designated themselves "The Five."
In 1981, Ito, Piatek, Loving and William Conger (the last represented
here by a typical canvas of sharp, curving, multicolored strips
against a dark background) formed a collectivity called the "Allusive
Abstractionists." Obviously not everyone has the Schulze-Baum gift for
nomenclature.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMcSTHvPM6TEkODUYOxGStSnzUZX_D0SMeQXcotTLNjipzq8m0ZnI1L_jTzbzEUr2JJs3rFLEW8pOEJleVg_k9A35xuHiqfif0oR3LunOOU1uMVsaZlkhfJ3qrR-k1SWq0liLU/s1600/hull+1980.Jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="570" data-original-width="462" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMcSTHvPM6TEkODUYOxGStSnzUZX_D0SMeQXcotTLNjipzq8m0ZnI1L_jTzbzEUr2JJs3rFLEW8pOEJleVg_k9A35xuHiqfif0oR3LunOOU1uMVsaZlkhfJ3qrR-k1SWq0liLU/s320/hull+1980.Jpeg" width="259" /></a></div>
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Richard Hull, "What I Believe", 1980</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfLwmy46THVECIyg1oEdAlDCTIGCTsYPkuoOxERploPaWRp0MDZH2v-AtWWSaACxx1v8KAbjbrab726Ogi6NU56uAfMoydl4sBGYWv0RkhC9dS6oTiLS9kRleUWnzR9mbrqRVp/s1600/lutes+welder+80s.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="538" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfLwmy46THVECIyg1oEdAlDCTIGCTsYPkuoOxERploPaWRp0MDZH2v-AtWWSaACxx1v8KAbjbrab726Ogi6NU56uAfMoydl4sBGYWv0RkhC9dS6oTiLS9kRleUWnzR9mbrqRVp/s320/lutes+welder+80s.jpg" width="269" /></a></div>
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Jim Lutes, "The Welder", 1980's</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdYomGRNWHEG9ElgHpUxNg3cyO88yDPadoYiC0fXFxq1enffliXgiMjGSotOuxkBhbhDr8-xklxHtXS4vpzKPl_Z7LSX_0QKbtzAmMuwZ5Goqmq9kxNvtm7bdqIXdOiV9bEKqZ/s1600/warneke.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="336" data-original-width="350" height="307" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdYomGRNWHEG9ElgHpUxNg3cyO88yDPadoYiC0fXFxq1enffliXgiMjGSotOuxkBhbhDr8-xklxHtXS4vpzKPl_Z7LSX_0QKbtzAmMuwZ5Goqmq9kxNvtm7bdqIXdOiV9bEKqZ/s320/warneke.jpg" width="320" /></a></div>
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Ken Warneke, 1995</div>
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Imagist-related artists of this period include the painters Richard
Hull, who locates small featureless figures, seemingly composed of
swirls, in houses with a dream-like geometry of jumbled planes; Jim
Lutes, who places distorted figures in more-or-less realistic settings
and Ken Warneke, whose dispassionate, bruise-toned canvases often
feature free-floating limbs and disembodied heads. Warneke
participated in a 1981 try at recapturing the old street-tough energy
through an exhibitions titled "Black Light-Planet Picasso." This
neo-Happening, held in the loft of Jim Brinsfield and Darinka
Novitovic, featured New Wave music and keyed-up paintings displayed
under black lights. Like "Hairy Who III," it was partially
reconstructed in "art in Chicago"-but to disadvantageous effect.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhymWgNVRxcMtziFH_aBnOIwFEkGg8a1QYAZbOs9L005KRWta1qrWcvhcCxFY4jKgUU1eax6BSzydYPe_UPZ9VbbXDKxJv-vj34z-L15jEC0S4wVNdSR3h64Kq6J67F2YbgkusF/s1600/Nereida+Garcia+Ferraz.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="788" data-original-width="800" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhymWgNVRxcMtziFH_aBnOIwFEkGg8a1QYAZbOs9L005KRWta1qrWcvhcCxFY4jKgUU1eax6BSzydYPe_UPZ9VbbXDKxJv-vj34z-L15jEC0S4wVNdSR3h64Kq6J67F2YbgkusF/s320/Nereida+Garcia+Ferraz.jpg" width="320" /></a></div>
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<div style="text-align: center;">
Nereida Garcia Ferraz</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrmx_AyDHAnPsQD3Cu7oLi9rGdHQtQ8W8lxaScMPfqQ7N1dPeIDC191qoI5sifnMsnAdirU0kO_1lzeNepdTSfQn7i6bG6B871bwFibtgj-Ei0X1l9VAy2tVGubvIP6EnuNvgk/s1600/romero.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="567" data-original-width="800" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrmx_AyDHAnPsQD3Cu7oLi9rGdHQtQ8W8lxaScMPfqQ7N1dPeIDC191qoI5sifnMsnAdirU0kO_1lzeNepdTSfQn7i6bG6B871bwFibtgj-Ei0X1l9VAy2tVGubvIP6EnuNvgk/s320/romero.jpg" width="320" /></a></div>
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Alejandro Romero, "Procession", 1991</div>
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(this does not match the description given below)</div>
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The work of several recent Hispanic artists also suggests a formal
sympathy with the Imagists style (or vice-versa). Nereida
Garcia-Ferraz produces pseudo-naive, image and Spanish text paintings
that evoke her native Cuba; Alejandro Romero, known as a muralist and
community organizer, was represented by "Procession" (1991), an
assemblage of medicine cabinets, surgical instruments and sexy female
mannequins surrounding a painting in which the notoriously hard-living
Raya, wearing dark glasses, lies in a hospital bed with a tube up his
nose.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE2oDDFtJoisDgSDX2Hb-JVVMCn7w5gl9NVi_8ynTkYZOrIRkWxmprf8IjZc8EyiUsv1ZL0eD3gTB0zn6fGNRwDQG03eglCu_zJ6qxPj3K0_id-Ai_PtZD77EHuN2m_x26_q8o/s1600/czaropy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="497" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE2oDDFtJoisDgSDX2Hb-JVVMCn7w5gl9NVi_8ynTkYZOrIRkWxmprf8IjZc8EyiUsv1ZL0eD3gTB0zn6fGNRwDQG03eglCu_zJ6qxPj3K0_id-Ai_PtZD77EHuN2m_x26_q8o/s320/czaropy.jpg" width="198" /></a></div>
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Tom Czarnopy , 1984</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoRpOLATh_MQ4T4s-H-IsI7qKlygoY11NQ3HNEGtF1H6K3VDcdW_VOBdyP5k0k0ZO2fUrZc1zOnR6RQOKKPrNb23Z0qzdBruDTF6RjR348AT20CRorPHg2c748M_A3vA-mMFbw/s1600/itatani.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="454" data-original-width="605" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoRpOLATh_MQ4T4s-H-IsI7qKlygoY11NQ3HNEGtF1H6K3VDcdW_VOBdyP5k0k0ZO2fUrZc1zOnR6RQOKKPrNb23Z0qzdBruDTF6RjR348AT20CRorPHg2c748M_A3vA-mMFbw/s320/itatani.jpg" width="320" /></a></div>
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Michiko Itatani, 1994</div>
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But the show's single strongest embodiment of the Imagist aftermath
was Tom Czarnopy's untitled sculpture of a partially crouched bark man
whose eyeless face cumulates in a long hornlike branch that seems to
serve him as a snout. Dating from 1984, the eerie, life-size piece is
one of many tree-humans (including several root-fetuses) that the
artist created in the late 1980s but has, lamentably, since abandoned
for other forms. Meanwhile, all the standard varieties of abstract
painting have continued in Chicago, from the geometricism of Rodney
Carswell to the expressive scribblings of Susanne Doremus, from the
spiritualized mark-making of Michiko Itatani (who complicates critical
matters by occasionally introducing large tumbling figures) to the
cool surfaces and hyper-rational "empty" compositions of Daniel
Ramirez.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSYKbitrpIzTHHx5v8iPpSUw_MDG-vjNKJSt_P9APwJXwq2afb31PbWfLFoLrhfaMk8vB7bXgrCzie8SeAyId0ePTZyMAE7BGuWmjJzR2rqqIAmavMByiwMNLnOCukdSdYpVeM/s1600/carswell.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="623" data-original-width="800" height="249" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSYKbitrpIzTHHx5v8iPpSUw_MDG-vjNKJSt_P9APwJXwq2afb31PbWfLFoLrhfaMk8vB7bXgrCzie8SeAyId0ePTZyMAE7BGuWmjJzR2rqqIAmavMByiwMNLnOCukdSdYpVeM/s320/carswell.jpg" width="320" /></a></div>
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Rodney Carswell, 1988</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXdtexGLLzksUIjIlZVaqYPav3p4cs0C3ALdV3Enk714fQwGHSjkXxmy1ouHVj5bg2M0hpCa5VljjSxZxbCLTA0XsHZG9ppoUkR2GtOnCU0s3PauEj4IU_cz1kTSMO8EUJLxoV/s1600/doremus.Jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="396" data-original-width="461" height="274" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXdtexGLLzksUIjIlZVaqYPav3p4cs0C3ALdV3Enk714fQwGHSjkXxmy1ouHVj5bg2M0hpCa5VljjSxZxbCLTA0XsHZG9ppoUkR2GtOnCU0s3PauEj4IU_cz1kTSMO8EUJLxoV/s320/doremus.Jpeg" width="320" /></a></div>
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Susanne Doremus, Aquarium, 1983</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwf1ct3cdSAMFOLXFD2ssxffqKQV1OmbwSkaOZnqmuNWPFfw_gWXg4eFIzyL9HnNRcfbIRMAOkEFZeApD99c1PA5vS4tNwvtAoeaVnqUKB3n3gMviCGbnUp1DSUfdjj4gPiWSj/s1600/ramirez.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="359" data-original-width="477" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwf1ct3cdSAMFOLXFD2ssxffqKQV1OmbwSkaOZnqmuNWPFfw_gWXg4eFIzyL9HnNRcfbIRMAOkEFZeApD99c1PA5vS4tNwvtAoeaVnqUKB3n3gMviCGbnUp1DSUfdjj4gPiWSj/s320/ramirez.jpg" width="320" /></a></div>
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Dan Ramirez, 1995</div>
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Lately, the East and West Coasts have inflicted a subtle revenge on Chicago through the work of Wesley Kimler, whose exhibited "Egmont" (1995) looks like a misbegotten collaboration between Diebenkorn and Motherwell.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRHUJtweuNvewCJTvJNE3u-kEb51fffkQjfVKi4mIhI64q9VFaUb1Krxu7h8oBjTF73O3d5lY4r69MFb_8GE72zTU3cuY0Ie4oTY2JhAag2j4h3G1uCtRxWLcMeGoF_h5yaXZ_/s1600/kimler.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="658" data-original-width="800" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRHUJtweuNvewCJTvJNE3u-kEb51fffkQjfVKi4mIhI64q9VFaUb1Krxu7h8oBjTF73O3d5lY4r69MFb_8GE72zTU3cuY0Ie4oTY2JhAag2j4h3G1uCtRxWLcMeGoF_h5yaXZ_/s320/kimler.jpg" width="320" /></a></div>
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Wesley Kimler, "Egmont", 1995</div>
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<span style="color: yellow;"></span>
<span style="color: yellow;">Was it the painting or the cantankerous artist himself that drew this, the most negative response given to any of the art on display? I can certainly see how the piece might resemble both Diebenkorn and Motherwell -- but why is that conflation necessarily misbegotten ?</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWpp5w7M4ognCyAx590FJjPH4j80wVq_UR6U6emF4J7c0a5EFw69q4vDBwyhmKRjsyaQU1n6mHWmf0xQ_FZgdJlLVL1bUwp9h01FnPQC0jw1TqBGoxuo5rUjN9cCgd0faGDd-F/s1600/kovachevish.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="794" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWpp5w7M4ognCyAx590FJjPH4j80wVq_UR6U6emF4J7c0a5EFw69q4vDBwyhmKRjsyaQU1n6mHWmf0xQ_FZgdJlLVL1bUwp9h01FnPQC0jw1TqBGoxuo5rUjN9cCgd0faGDd-F/s320/kovachevish.jpg" width="317" /></a></div>
<div style="text-align: center;">
Tom Kovachevich, "Purple Gas", 1981</div>
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The economic boom-and-bust of the 1980s and 1990s had the same effects
in Chicago as elsewhere. And the show makes clear that the aesthetic
energy of these years was tied to a new philosophic model signaled by
events like the 1978 founding of the journal "White Walls," with its
emphasis of artist's writing and French theory, and the opening of the
postmodern Feature gallery in 1984. An art scene that had always been
gutsy and contentious now proved itself capable of at least moderate
cerebration as well.
One of the earliest manifestations of this trend was seen here in
materials from a 1977 "dancing papers" performance in which Thomas
Kovachevich ( the show's only artist-osteopath) placed pieces of
shaped tracing paper on swaths of various fabrics spread over tanks of
water, causing the paper to gradually absorb moisture and twitch
erratically under the dramatic lighting.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO3X2siGRjWusNnx8Se2S4nDhUIiqW5HZH4bZBApH1ttP_1FoPRGe7DqZTTMS-YgxP0WdZvvHklc2SjzqNPxzDzjUDe1PZAklGttQ4ocOYaLbNyDbPmrsCjaUIqKdwt2ZMQMYu/s1600/z-spector.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="235" data-original-width="284" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO3X2siGRjWusNnx8Se2S4nDhUIiqW5HZH4bZBApH1ttP_1FoPRGe7DqZTTMS-YgxP0WdZvvHklc2SjzqNPxzDzjUDe1PZAklGttQ4ocOYaLbNyDbPmrsCjaUIqKdwt2ZMQMYu/s1600/z-spector.jpg" /></a></div>
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<div style="text-align: center;">
Buzz Spector</div>
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But the godfather of Chicago
think art is Buzz Spector, co-founder (with Reagan Upshaw) of "White
Walls," which he published and edited for nine years, and a maker of
altered postcards, artist's books and installation. "His Library"
(1984), combining manipulated texts and natural rocks in long wooden
box-shelf, is a typically waggish comment on the weightiness of
reading.<br />
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<span style="color: yellow;">Apparently "think art" is synonymous with "conceptual art" - though I've never seen that construction before. I wonder why Vine chose to use it. It's a genre in which I have no interest -- though it does serve to emphasize, by contrast, those qualities that attract attention visually.
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVP8EzGTXG5sO4laJ6YusTj9ksWYOdI6l_XcTT7sUFddQjoQx1HhSv3U-qiqGVVVaZwx9DH-NuAbVcZxflKte8O5K_HpK-DoVj1eG69hdPeN12b3DNc4U7xjxB1Iw6_OaIfkF7/s1600/z-cook.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="231" data-original-width="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVP8EzGTXG5sO4laJ6YusTj9ksWYOdI6l_XcTT7sUFddQjoQx1HhSv3U-qiqGVVVaZwx9DH-NuAbVcZxflKte8O5K_HpK-DoVj1eG69hdPeN12b3DNc4U7xjxB1Iw6_OaIfkF7/s1600/z-cook.gif" /></a></div>
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Jno Cook, Cockroach Camera</div>
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Outright humor turned up in Jno Cook's "35mm Cockroach Camera" (1978),
a contraption jury-rigged form camera parts and electrical components
to function as a photographic bug-zapper, and in Robert C. Peter's
installation titled "Chicago: Although Marco Polo Never Heard of
Chicago, Its Story Really Begins With Him" (1982), which brings
together a city map, loaves of bread from various ethic neighborhoods,
and a hodgepodge of statistics and humorous quotes-among my favorites,
tough-guy novelist Nelson Algren's "If Diogenes came to Chicago they
would steal his lamp."<br />
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The era's overtly politicized art was no more
profound in Chicago than it was anywhere else. (This, it should be
remembered, is the place where, in 1988, an alderman led the charge to
forcibly remove a painting of former mayor Harold Washington, in high
heels and garter belt, from a student exhibition at the SAIC. A year
later, a second SAIC student gained brief celebrity by spreading the
Stars and Stripes on a gallery floor under an inscription asking "what
is the proper way to display a U.S. flag?") Since the city did not
produce a political artist with the formal panache of a Barbara Kruger
or a Martha Rosler, it is probably just as well that Warren kept
ideological works to a nearly invisible minimum<br />
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<br />
One interesting
exception was Inigo Manglano-Ovalle's "Assigned Identities (Part I),"
1990, composed of 11 color headshot photos of Hispanic individuals on
blank oversized ID-card backgrounds, each with a different colored
border.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg19WgxEcg4wtqDumIZKOdtsIAYu4h2U__wOGQyTduQgJqvLOGyHYpDhzLl0sFOPuHIObT7JeTvtDAt6xNO2Am5YQEmJ0idbGeY8GdbAWzvEsPnMY2m-BvdeMTBTyvQ0wztY7P1/s1600/z-assigned.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="150" data-original-width="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg19WgxEcg4wtqDumIZKOdtsIAYu4h2U__wOGQyTduQgJqvLOGyHYpDhzLl0sFOPuHIObT7JeTvtDAt6xNO2Am5YQEmJ0idbGeY8GdbAWzvEsPnMY2m-BvdeMTBTyvQ0wztY7P1/s1600/z-assigned.jpg" /></a></div>
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<span style="background-color: transparent; color: black; display: inline; float: none; font-family: "times new roman"; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Inigo Manglano-Ovalle, "Assigned Identities </span><b></b><i></i><u></u><sub></sub><sup></sup><strike></strike></div>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><br />
<span style="color: yellow;">Is this really supposed to exemplify "formal panache" ?</span><br />
<span style="color: yellow;"></span><br />
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The work that enjoys the greatest critical prominence in Chicago these
days is either purely formal or "political" only in the incorrect
sense of conveying a latent cultural critique. One can still ferret
out paraphrasable messages about the malleability of perception and
the social construction of sexuality in Jeanne Dunning's photographs
like "Neck" (1990), on one of her phallic, shot-from-behind female
"Heads," or in "Detail 8" (1991), and extreme, hyper-saturated ovoid
close-up of a piece of tomato that compellingly evokes some improbably
moist and intimate human body part.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnIlwmZczC6pvwVrvpBx4hY5SdPpYOi19wqDxf-LWYloxcnxKyE5BLkrTdy8hVe2B9zJpBLHfbyGavKsKWoYYbJJysRaqAvgm58pHSdmgfirotlfQYczCAWyLGtvdSyiPRKw0a/s1600/z-dunning.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="470" data-original-width="380" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnIlwmZczC6pvwVrvpBx4hY5SdPpYOi19wqDxf-LWYloxcnxKyE5BLkrTdy8hVe2B9zJpBLHfbyGavKsKWoYYbJJysRaqAvgm58pHSdmgfirotlfQYczCAWyLGtvdSyiPRKw0a/s320/z-dunning.jpg" width="258" /></a></div>
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<div style="text-align: center;">
Jeanne Dunning, "Neck"</div>
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<span style="color: yellow;">A rear view of a woman's head might resemble a man's penis --- imagine that! It's funny -- but what might be the "paraphrasable message" with a "latent cultural critique"?</span><br />
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<br />
Kerry James Marshall's painting
"Untitled (Altgeld Gardens)," 1995, shows a young black man on his
hands and knees, peering out at the viewer before a shallow-space
depiction of a "bucolic" housing project.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjC1p5VVaVK1piVukjKqCdc0S3J8Nqt_uXY8YEPwxQQ8_yCmYfshoa2cGdpbikUIcVaW9YiusC3h9VTamJZdGlhyphenhyphenA6PYNIwUawrpe2B0n2XdEEl-_njpK3zfcMCbz3hnCUDnxxk/s1600/z-marshall.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="618" data-original-width="800" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjC1p5VVaVK1piVukjKqCdc0S3J8Nqt_uXY8YEPwxQQ8_yCmYfshoa2cGdpbikUIcVaW9YiusC3h9VTamJZdGlhyphenhyphenA6PYNIwUawrpe2B0n2XdEEl-_njpK3zfcMCbz3hnCUDnxxk/s320/z-marshall.jpg" width="320" /></a></div>
<div style="text-align: center;">
Kerry Marshall, "Altgeld Gardens"</div>
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<span style="color: yellow;">This painting seems so much more than a cultural critique. It also seems to embody growth, yearning, fulfillment, and the thrill of being alive.</span><br />
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And in a more playful vein,
Kay Rosen contemplates the linguistic manipulations of meaning in
works like "Various Strata" (1985), a painting composed in her
now-signature fashion by stacking, in three tiers of diminishing type
size, the terms "HIM/HYMM/HMMM."<br />
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<div style="text-align: center;">
Kay Rosen</div>
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<span style="color: yellow;">This is just a very good billboard. Unlike all other good billboards, however, it qualifies as important art because it sells a politically correct cultural critique</span><br />
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Tony Tasset, whose '80s stretched animal hide "paintings" were once
esteemed as parodies of abstract painting and the commodification of
art objects (and who once curated a show at the Randolph Street
Gallery that featured three women wrestling nude in a pool of jello),
was here represented by "Abstraction with Wedges" (1990), a thick
square of Plexiglas resting inches off the floor on five wooden
shims-perhaps because his use of animal products (to say nothing of
the female accomplices) was too reconstructed for current curatorial
taste. ..<br />
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<div style="text-align: center;">
Tony Tasset</div>
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<span style="color: yellow;">One can say that every solid object has form -- and everything can be related to a politics . The primary concern of this piece,however, just seems to be playing the game of contemporary art.</span><br />
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Joe Scanlan's 4-inch-high "Untitled Candle (8 oz. Milk)," 1988,
is one in a series of candles that he originally showed simultaneously
with an art gallery and a furniture store, with identical pieces
priced high as "art" and much lower as home decor - demonstrating, well,
you get it.<br />
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Joe Scanlan, Four untitled Candles, 1988</div>
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Pure formalism prevailed mostly in mini-formalist works.
Richard Rezac's untitled 1986 ground-level sculpture, for example,
resembles a cockeyed, 2-foot-long vermilion exclamation point laid on
its side.<br />
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<div style="text-align: center;">
Richard Rezac, untitled, 1986</div>
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<span style="color: yellow;"><br /></span>
<span style="color: yellow;">Rather than"pure fomalism", this might better be called "pure semiotic academicism" -- i.e. it's primary function is to engage linguistic theories current in academic institutions. </span><br />
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Adelheid Mers' ethereal "American Beauties #19 (Flame)," a
pattern of red light on the floor, served as wistful envoy piece for a
show commemorating the city once described as "stormy, husky,
brawling."<br />
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Adelheid Mers, American Beauties</div>
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Margaret Wharton, "Morning Bed"</div>
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For the exhibition, experienced in its entirety, gave one
the sense of moving from a time-tested aesthetic involving unique,
well-made, often body-centered physical objects (e.g. Margaret
Wharton's "Morning Bed," 1978) toward a new art-as-information (e.g.,
[Art] Laboratory's 1991 computer-derived "virtual photography"
installation), in which facture-and even substantive presence - is of
secondary importance at best.<br />
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<span style="color: yellow;">I'm not convinced that facture and substantive presence is all that important in "Morning Bed" either.</span><br />
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This change, along with the fashionable
preoccupation with multiculturalism and identity politics (a
rear-guard action in defense of vanishing diversity), marks a
transformation that is in many ways representative. Chicago once had a
distinct aesthetic; today it shares in the worldwide lingua franca of
contemporary art that, like the mass marketing of sneakers of Coke,
permits no more than minor local inflections. The diverse, autonomous
cultures that once offered resistance and contradiction and
richness-or at least alternative-to the dominant style of any
historical age, are now being steadily obliterated, for all time.
Today, viewers see essentially the same art in Chicago that they see
in Paris or in Copenhagen or Seoul: one art world, on art language,
one art mind-to our eventual detriment.
The Chicago art scene I remember-and this is, of course, both the
strength and the weakness of personalized history-was one in which,
far from fretting about Second City, didn't give a rat's ass about
critical opinion in New York (the transparent bravado of this claim
was part of it charm); in which a well-known dealer, bragging about
her recent breast augmentation at a dinner party, could lift her
sweater and display the impressive results over the salad course; in
which brunch at the Jones/Faulkner collection included a nonstop
showing of male porno videos with titles like "Seven Boys in a Barn;"
in which an evening at critic Dennis Adrian's table, where he and
others proffered a rhapsody of devastating wit unmatched since the
last days of Versailles, inevitably brought to mind Oscar Wilde's
remark about "feasting with panthers"; and in which a friend,
reflecting the sexual mores of the art world in general, could adopt
as his personal credo Lord Byron's quip: " I have been more ravished
than anybody since the Trojan War."<br />
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Richard Willenbrink, self portrait, 1988</div>
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Well, times do change. I confess to being relieved that the show,
although it included a work by the neo-baroque allegorist Richard
Willenbrink, did not contain his nude portrait of me, in
near-life-size scale, for which (with a recumbent former wife) I
sat-or, rather, flagrantly stood-for many Sunday afternoons in that
faraway time and place. Still, one can't help wishing that Warren's
ever-so-careful survey had captured something of the outlaw,
in-your-face quality that once made art in Chicago intellectually
mordant-and outrageously fun.
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<span style="color: yellow;">Over twenty years later, both Vine and Willenbrink are long gone -- while the Imagists remain the most, perhaps only, distinct kind of investment grade art Chicagoans have created. Last year, the Art Institute re-created all the Hairy Who shows, completing their transformation from wild provocateurs to established icons.
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So... may we now look elsewhere for interesting art? Does it still have to be "intellectually mordant" and "outrageously funny"? As Richard Vine has noted, that approach was outdated in 1997 - and it has certainly gotten no fresher over the decades that followed.
</span><br />
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<br />chris millerhttp://www.blogger.com/profile/09575033275184403015noreply@blogger.com0tag:blogger.com,1999:blog-19047760.post-60357238826650346822018-11-02T12:42:00.000-05:002018-11-02T15:21:13.822-05:00Georg Jensen - Scandinavian Design at the Art Institute of Chicago<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBSPSUPjteTGzfgzO4IzKbBHxyVCkfzoGVKOKx1P5PZfOsm3FEHVb99ABX6wxyCS4MiN4Ayzae-JmpSkGMI12dJRMaO7yhP_j4EPVd9Wu-Gw3A5_rmk-eDPYIrudFoDMyse-Be/s1600/aa-gerhard+henning.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="715" data-original-width="800" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBSPSUPjteTGzfgzO4IzKbBHxyVCkfzoGVKOKx1P5PZfOsm3FEHVb99ABX6wxyCS4MiN4Ayzae-JmpSkGMI12dJRMaO7yhP_j4EPVd9Wu-Gw3A5_rmk-eDPYIrudFoDMyse-Be/s320/aa-gerhard+henning.jpg" width="320" /></a></div>
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Gerhard Henning (1880-1967)</div>
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There was no Danish figure sculpture in this Summer's exhibition of Scandinavian design at the Art Institute of Chicago. (as the above might suggest, there are <a href="http://www.ilovefiguresculpture.com/masters/scandinavia/denmark/denmark.htm">many fine examples</a> from which to choose.)<br />
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But one might note that the silversmith, Georg Jensen, and several of his collaborators, were initially trained in figurative sculpture.<br />
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Regretfully, I walked right past the entrance to this exhibit many times on my way to the John Singer Sargent exhibition across the hall.<br />
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<div style="text-align: center;">
Georg Jensen (1866-1935), 1912
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<div style="text-align: center;">
Georg Jensen (1866-1935), 1915</div>
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After briefly pursuing a career in figure sculpture, and having a family to support, Jensen apprenticed himself to a silversmith. Then he opened his own shop.<br />
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His importance to cultural history might have ended there - except that he turned out to have a talent for business as well as design and craftsmanship. He began hiring other silversmiths and designers - and eventually had to open a line of credit to meet the demands of the large orders he was receiving. Then, as tastes changed, he had to adapt to his larger, international market - changing his own style and recruiting up-to-date talent. Not surprisingly, eventually he became estranged from the management of the multi-national corporation he had built, and returned to running just one of the many shops within his commercial empire.<br />
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<div style="text-align: center;">
Georg Jensen, 1929</div>
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The beaker shown above seems much closer to art deco than to the<br />
Arts and Crafts movement reflected in Jensen's earlier work,<br />
like the serving dish to the right</div>
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<div style="text-align: center;">
Georg Jensen, 1925</div>
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Here's a drawing made for the candelabra shown above it. It seems to guide, rather than tightly control, the craftsman who would cut, hammer, and assemble it out of sheets of silver.<br />
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<iframe allowfullscreen="" frameborder="0" height="360" src="https://player.vimeo.com/video/264218106" width="640"></iframe>
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Here's the process is demonstrated by Allan Scharff, the only living designer whose work appeared in this show.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBOrlE5MRH4ntcYbTsQyVGUQO1GQMLP6EgwoqIfOblU47PM8HY7AooswH3KngdDmfTYr503imYSVpbbkpd5Ew23ywPR27-2x7ykn0C6bu_2gTQpYPTr2qpGCWN_xNFf8ng0fIo/s1600/johan+rohde+1920+pitcher.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="631" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBOrlE5MRH4ntcYbTsQyVGUQO1GQMLP6EgwoqIfOblU47PM8HY7AooswH3KngdDmfTYr503imYSVpbbkpd5Ew23ywPR27-2x7ykn0C6bu_2gTQpYPTr2qpGCWN_xNFf8ng0fIo/s320/johan+rohde+1920+pitcher.jpg" width="252" /></a></div>
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Johan Rohde (1856-1935), Pitcher 432C, 1920</div>
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Judging this design to be too radical for its time, Jensen waited five years </div>
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before he began to produce and sell it.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWrRB_nqtWQMV4GA7mgp_X3Tv1v-hxMdvH3X6xw9wMQh2chinj890CxcLw2-EjOw5QChn6SNOo4LwoodKCwpmu5LC7XGRaYYtPPen_8c-YsSCd2bHZaSw8gy6Usx56JDZga5Zq/s1600/johan+rohde+1920+pitcher2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="677" data-original-width="501" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWrRB_nqtWQMV4GA7mgp_X3Tv1v-hxMdvH3X6xw9wMQh2chinj890CxcLw2-EjOw5QChn6SNOo4LwoodKCwpmu5LC7XGRaYYtPPen_8c-YsSCd2bHZaSw8gy6Usx56JDZga5Zq/s320/johan+rohde+1920+pitcher2.jpg" width="236" /></a></div>
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Rohde was Jensen's first major collaborator. They met when Rohde invited Jensen to participate in an arts and crafts exhibition (Den Frie) that he had organized. He then commissioned Jensen to execute some of his designs.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFXG67QENBNX1MUzMSZx-jLXkIenCF1nR24VRbTG04gNCl7Lyx-ykMgOTNUrGtDM0q98JwVaaEQctOXSArzbgR-jFcyAXxlnTyKxbD_ex-TzIjObutQXmh2leuL_qB0O2L92uM/s1600/johan+rohde+self+portrait.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="608" data-original-width="475" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFXG67QENBNX1MUzMSZx-jLXkIenCF1nR24VRbTG04gNCl7Lyx-ykMgOTNUrGtDM0q98JwVaaEQctOXSArzbgR-jFcyAXxlnTyKxbD_ex-TzIjObutQXmh2leuL_qB0O2L92uM/s320/johan+rohde+self+portrait.jpg" width="250" /></a></div>
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Johan Rohde, self portrait</div>
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Like Jensen, Rohde had gone to school for fine art --- but unlike Jensen, Rohde came from a wealthy family and was able to build a career in painting as well as design for silverware.<br />
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He is quoted as advocating a "Combat over-elaboration" to "bring forth a pure, simple style"<br />
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Rohde's acorn flatware, first produced in 1915, has been quite popular</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-REoeozPMuzY8r7QF_jZnafaFI6x03KsuwOlSqclXHr9p9H79QJn8Jsdt_s2ypfvtvteqV7RAF2xZMzmauKxJz6jpez9RLkCHzb16Es6-thcNAdL7odQd0DA7REuXo8jY79w0/s1600/johan+rohde+1915+acorn+flatware3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="346" data-original-width="800" height="138" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-REoeozPMuzY8r7QF_jZnafaFI6x03KsuwOlSqclXHr9p9H79QJn8Jsdt_s2ypfvtvteqV7RAF2xZMzmauKxJz6jpez9RLkCHzb16Es6-thcNAdL7odQd0DA7REuXo8jY79w0/s320/johan+rohde+1915+acorn+flatware3.jpg" width="320" /></a></div>
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Many pieces are still in production today</div>
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This is his drawing for the pitcher shown above. It's poor condition may be the result of having been tacked on the wall above a work bench for several decades.<br />
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Harald Nielsen (1892-1977)
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Nielsen was the brother of Jensen's third wife. He started working for the company in 1909 as a chasers apprentice,and then rose through the ranks to eventually become artistic director.<br />
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He is best known for his "pyramid" motif,</div>
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made popular by the discovery of King Tut's tomb in 1922</div>
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This is his popular pyramid flatware</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyx6j2YfuS6GfLRN828xWyFe3KELGU3h85JyAzaMksO_5XH1YpjStWviP3ozS4csOJtPchrP1UTxzhzXrc6aqsdu-YJmUTslgWvBEzbQeKyWpK1Aig3zyFKzthvbOAIMwO7hyphenhyphenF/s1600/harald+nielen+covered+game+dish.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="482" data-original-width="800" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyx6j2YfuS6GfLRN828xWyFe3KELGU3h85JyAzaMksO_5XH1YpjStWviP3ozS4csOJtPchrP1UTxzhzXrc6aqsdu-YJmUTslgWvBEzbQeKyWpK1Aig3zyFKzthvbOAIMwO7hyphenhyphenF/s320/harald+nielen+covered+game+dish.jpg" width="320" /></a></div>
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Here is a preliminary sketch for the game dish shown above it.</div>
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Rather than being a guide for the silversmith, it appears to be study </div>
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that includes various alternate details.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoZk5gXXi_r4_rn58BDU5m2VOuPzv9_BiDw36cwpzB1gPfeTEhKfOXV9ALTCq54g3MDonJ-fop9mn7P4NblQCZgqrn3aW70rpqEE8QBygyxEkKFbBD-72_dCW-lHrmlJKfxqfL/s1600/harald+nielsen+pitcher.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="620" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoZk5gXXi_r4_rn58BDU5m2VOuPzv9_BiDw36cwpzB1gPfeTEhKfOXV9ALTCq54g3MDonJ-fop9mn7P4NblQCZgqrn3aW70rpqEE8QBygyxEkKFbBD-72_dCW-lHrmlJKfxqfL/s320/harald+nielsen+pitcher.jpg" width="248" /></a></div>
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pyramid coffee service</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqmi3oTlNpFJc27RnvekC1pw0kS-pYsPCfr7l_23_lFL0dl5iH_p8eOSrn8jKzfrp7kamdJmDzk3HNwdbe6syRwO1c6B5X23BE7dgr_ZzLzVB73b5WRHgxJkPhM6ecQmVAHffY/s1600/harald+nielsen+pyramid+condiment.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="684" data-original-width="800" height="273" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqmi3oTlNpFJc27RnvekC1pw0kS-pYsPCfr7l_23_lFL0dl5iH_p8eOSrn8jKzfrp7kamdJmDzk3HNwdbe6syRwO1c6B5X23BE7dgr_ZzLzVB73b5WRHgxJkPhM6ecQmVAHffY/s320/harald+nielsen+pyramid+condiment.jpg" width="320" /></a></div>
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pyramid condiment tray</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQnpOw5Q4dmWzW_odwjD-129cdPiSgutWa4kdR9FRcduklMw64t5myS_wmSpqff4WsXCeyKQ42EkuIt_guZZTjw4K4wYjQAs_NLMuLZgkmvPAp0feCN3CvtspWQUwegs7IzVAx/s1600/harald+nielsen+pyramid+flatware+1926-45.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="800" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQnpOw5Q4dmWzW_odwjD-129cdPiSgutWa4kdR9FRcduklMw64t5myS_wmSpqff4WsXCeyKQ42EkuIt_guZZTjw4K4wYjQAs_NLMuLZgkmvPAp0feCN3CvtspWQUwegs7IzVAx/s320/harald+nielsen+pyramid+flatware+1926-45.jpg" width="320" /></a></div>
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Oscar Gundlach-Pedersen (1887-1970)</div>
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Also trained in figure sculpture, Pedersen became Georg Jensen's last apprentice in 1911 - and eventually became assistant director of the silversmithery.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtvCOuC_HzmypQws7DKawXHgvWwof8Xl3WC2au6cOG_sqEEQDiVdCxkU4Ha8wEG3XEpLEABxwrW-wyqTmQPMm1boFivNH1jFVaoovVM5A2yETya6A1zrXTucbbAtimmNKtprnN/s1600/oscar+gundlach+pedersen.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="583" data-original-width="800" height="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtvCOuC_HzmypQws7DKawXHgvWwof8Xl3WC2au6cOG_sqEEQDiVdCxkU4Ha8wEG3XEpLEABxwrW-wyqTmQPMm1boFivNH1jFVaoovVM5A2yETya6A1zrXTucbbAtimmNKtprnN/s320/oscar+gundlach+pedersen.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjSD2i1Jrt0D9ibyONjeDlS4sHstsPzEmHMK3yIW5wfcwucKmpyQHzHThzwG3QFTNrUPB0yzSO6Yu8p56irYRmyQ73mPPkycsCCGQsQTURqcSxWCtkI-UIsfQif5lSciMKWQ0e/s1600/sigvard+bernadotte.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="785" data-original-width="800" height="314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjSD2i1Jrt0D9ibyONjeDlS4sHstsPzEmHMK3yIW5wfcwucKmpyQHzHThzwG3QFTNrUPB0yzSO6Yu8p56irYRmyQ73mPPkycsCCGQsQTURqcSxWCtkI-UIsfQif5lSciMKWQ0e/s320/sigvard+bernadotte.jpg" width="320" /></a></div>
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Sigvard Bernadotte (1907-2002)</div>
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A Swedish prince who was recruited right out of art school, he would go on to co-found Bernadotte and Bjorn in 1949 - the first Scandinavian studio devoted entirely to industrial design.<br />
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Coffee and tea service, 1952</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4VA0qbDddmM4lvaMHu9C0FtO6f1Se9QBtji6JuTPzLQ4c3HWDsEnfqoMLf2yPWZaNohjoVR0uZTAffrQh0Z53b9lCJDDP_7gKe4z9VqdMbg42hAXOiyAIFN2jDgkw3SwdZ_pv/s1600/sigvard+bernadotte+ice+wa+ter+pitcher+1952.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="589" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4VA0qbDddmM4lvaMHu9C0FtO6f1Se9QBtji6JuTPzLQ4c3HWDsEnfqoMLf2yPWZaNohjoVR0uZTAffrQh0Z53b9lCJDDP_7gKe4z9VqdMbg42hAXOiyAIFN2jDgkw3SwdZ_pv/s320/sigvard+bernadotte+ice+wa+ter+pitcher+1952.jpg" width="235" /></a></div>
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ice water pitcher, 1952</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw8Tc8Btp-blNrKQLG8VgIi9BoRJCxHN53tK4xahV06bg6bT3US48q0gHTzrNdET6uJQmxnTD4_510CdOTYTmkjoZR9iFJTgn0lthEe-rB65xX0LmAeB7Zx4N73JNekEfJjzvG/s1600/sigvard+bernadotte-various1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="758" data-original-width="800" height="303" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw8Tc8Btp-blNrKQLG8VgIi9BoRJCxHN53tK4xahV06bg6bT3US48q0gHTzrNdET6uJQmxnTD4_510CdOTYTmkjoZR9iFJTgn0lthEe-rB65xX0LmAeB7Zx4N73JNekEfJjzvG/s320/sigvard+bernadotte-various1.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrulT8Eks9vviwOIhk5Q2hmYxatBoHPh19SGtWhvUYETIaeo2DXbowMq5EtXC8hq0b0wG1wN3BwsDF2-nvdQueEv-4dc0fNOxnUVIOps6iG6jWgPsRvyemh2mRXHUVqJDTnby1/s1600/sigvard+bernadotte-various2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="577" data-original-width="800" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrulT8Eks9vviwOIhk5Q2hmYxatBoHPh19SGtWhvUYETIaeo2DXbowMq5EtXC8hq0b0wG1wN3BwsDF2-nvdQueEv-4dc0fNOxnUVIOps6iG6jWgPsRvyemh2mRXHUVqJDTnby1/s320/sigvard+bernadotte-various2.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwlrARHIAMVzRAyF9oNkUkIDTEvZ5xYgQm4Bk3NUZQ29TqTAvu1CsbfJzc0RHGIDjIaVmz_xaLTfdXL9q3tJTBhogJTyK6KDx-eI1W9hDZV66b1zVry1VqOrASQ40LrSrtvlX1/s1600/henning+koppel+1946.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="615" data-original-width="800" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwlrARHIAMVzRAyF9oNkUkIDTEvZ5xYgQm4Bk3NUZQ29TqTAvu1CsbfJzc0RHGIDjIaVmz_xaLTfdXL9q3tJTBhogJTyK6KDx-eI1W9hDZV66b1zVry1VqOrASQ40LrSrtvlX1/s320/henning+koppel+1946.jpg" width="320" /></a></div>
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Henning Koppel (1918-1981), 1946</div>
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Koppel was a Swedish illustrator and jewelry designer who was working in Stockholm when Anders Hostrup-Pedersen recruited him in 1945. The story goes that he accepted employment by Georg Jensen on the condition that he be allowed absolute autonomy.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA828jWDJCfyWFXsRpMDHvIQ5AfgVWK_On7Y8AVs580JZNACdUm31Gg8pz_OXrdaabXJxtUJ5Qu2cugNfs5PI24N86Yj5rTOkkwZzeKXHRyBA-e1iJ8ruS2Vbb6dWmPdvie2kk/s1600/henning+koppel+1952+coffee+tea+service.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="598" data-original-width="800" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA828jWDJCfyWFXsRpMDHvIQ5AfgVWK_On7Y8AVs580JZNACdUm31Gg8pz_OXrdaabXJxtUJ5Qu2cugNfs5PI24N86Yj5rTOkkwZzeKXHRyBA-e1iJ8ruS2Vbb6dWmPdvie2kk/s320/henning+koppel+1952+coffee+tea+service.jpg" width="320" /></a></div>
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1952</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdcGwvSyAZw2gndwdbaHFiZCMNc2GPtO4TRCgYDHoNMoZQ3eMvqFAakPu5v56rkB1hBY0nCZ9w-mBMES7NZBQ9xwdY3UHViRVBa_J9vg5vAa8Irk6J_mv7jJ247IrRZ0uQUTYF/s1600/henning+koppel+1954+fish+dish.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="447" data-original-width="800" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdcGwvSyAZw2gndwdbaHFiZCMNc2GPtO4TRCgYDHoNMoZQ3eMvqFAakPu5v56rkB1hBY0nCZ9w-mBMES7NZBQ9xwdY3UHViRVBa_J9vg5vAa8Irk6J_mv7jJ247IrRZ0uQUTYF/s320/henning+koppel+1954+fish+dish.jpg" width="320" /></a></div>
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Fish dish, 1956</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKvcgKmu4Gs7rr6dzMfazqVPDJsiNcHH5NBP7i3UX_K2q4VMkmY219dmsIChxifQoZuXopW9VtHgGSishXBCFUa7MypNiW7tTYLrUm6tEq7eJPH0GfYroBOMaKY0rut_zcdFqd/s1600/henning+koppel+1956+eel+dish2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="739" data-original-width="800" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKvcgKmu4Gs7rr6dzMfazqVPDJsiNcHH5NBP7i3UX_K2q4VMkmY219dmsIChxifQoZuXopW9VtHgGSishXBCFUa7MypNiW7tTYLrUm6tEq7eJPH0GfYroBOMaKY0rut_zcdFqd/s320/henning+koppel+1956+eel+dish2.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQVXOh4gsYPYwG3HWq1H05akiqlA2rplOoDg3gsTDq-eJU_a4QnjuLqeI9fNq2SUdT8qI9TP5J5huhyimQoUbQfCIcqYp8fhMeBrQc28Hypc1-s8VKWxQcOBqx3Vz4a4vKk8LP/s1600/henning+koppel+1956+eel+dish.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="405" data-original-width="800" height="162" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQVXOh4gsYPYwG3HWq1H05akiqlA2rplOoDg3gsTDq-eJU_a4QnjuLqeI9fNq2SUdT8qI9TP5J5huhyimQoUbQfCIcqYp8fhMeBrQc28Hypc1-s8VKWxQcOBqx3Vz4a4vKk8LP/s320/henning+koppel+1956+eel+dish.jpg" width="320" /></a></div>
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Eel dish, 1956</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlKyCOkQuC87hfQqeNA8cs0jtKdcNFPZABShMXySluL6P86Euen86NaWpFcDujzOiZFAzG1jIkNKJ5o_D-hrNfCjo5Jt68faz5Ufrz_k3b0PwTEd9FLIzZKF4S4AxM4uA_gDEs/s1600/henning+koppel+1956+eel+dish3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="776" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlKyCOkQuC87hfQqeNA8cs0jtKdcNFPZABShMXySluL6P86Euen86NaWpFcDujzOiZFAzG1jIkNKJ5o_D-hrNfCjo5Jt68faz5Ufrz_k3b0PwTEd9FLIzZKF4S4AxM4uA_gDEs/s320/henning+koppel+1956+eel+dish3.jpg" width="310" /></a></div>
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My favorite piece in the show -- and apparently the favorite of many collectors as well.</div>
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One of them recently sold at auction for over $100,000</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8qK5VIOiJYSSwgWWI_6WM_TgLP_FvGA6b-kOFeCdlbaZrXm11Xmba5RiiM4Gq4DuGGxM3OBT4TDANjL6itqsT-ldJePBoYQ3V0X2Zh1FDem37MlYCrQPiywwQlM3DstVf_BJo/s1600/henning+koppel+1958+candelabrum.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="736" data-original-width="800" height="294" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8qK5VIOiJYSSwgWWI_6WM_TgLP_FvGA6b-kOFeCdlbaZrXm11Xmba5RiiM4Gq4DuGGxM3OBT4TDANjL6itqsT-ldJePBoYQ3V0X2Zh1FDem37MlYCrQPiywwQlM3DstVf_BJo/s320/henning+koppel+1958+candelabrum.jpg" width="320" /></a></div>
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candelabrum, 1958</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigWEo3iM15bvb1pQSbo5K02dIjXc8Ngzu94ydsHCQSnGaIytHWEvstuVaB5Q5e32QJmmd6rD2TmGUvdcyg8T3nB3fi8PRsEWANinyAP6jKg1fpXdZj6MTIrAhcn8Q8Coo10D76/s1600/henning+koppel+1965++melamine.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="734" data-original-width="800" height="293" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigWEo3iM15bvb1pQSbo5K02dIjXc8Ngzu94ydsHCQSnGaIytHWEvstuVaB5Q5e32QJmmd6rD2TmGUvdcyg8T3nB3fi8PRsEWANinyAP6jKg1fpXdZj6MTIrAhcn8Q8Coo10D76/s320/henning+koppel+1965++melamine.jpg" width="320" /></a></div>
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melamine, 1965</div>
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(how thoroughly sixties)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG2ByYW9SApWnPU3Qb5ZUMm09V4cMisKPywZZrC2oLTdC2FfsV5_9ElKQSxcTLYN3pPIUlEgnJ9-ZZGiL3QkPPHtmKtKlXcL1ZBXfLWJGgxqKhxYeEoK8cmkp2JFK5WA3FmFs-/s1600/henning+koppel+1967++sauceboat2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="479" data-original-width="800" height="191" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG2ByYW9SApWnPU3Qb5ZUMm09V4cMisKPywZZrC2oLTdC2FfsV5_9ElKQSxcTLYN3pPIUlEgnJ9-ZZGiL3QkPPHtmKtKlXcL1ZBXfLWJGgxqKhxYeEoK8cmkp2JFK5WA3FmFs-/s320/henning+koppel+1967++sauceboat2.jpg" width="320" /></a></div>
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sauceboat, 1967</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOFtd3Rup_bcr-67OgYYvOxSmx7xiOBvihdzrKNuOgDmYYJXVf8nzfkq30GnBqVmqzS8lAtxzQ1TEmqqHOTTId-X50AGeYtOsxjBlC5512qKGNd-ss4kt-n4uVcbgpXY_q93xB/s1600/henning+koppel+1970+toast+rack.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="797" data-original-width="800" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOFtd3Rup_bcr-67OgYYvOxSmx7xiOBvihdzrKNuOgDmYYJXVf8nzfkq30GnBqVmqzS8lAtxzQ1TEmqqHOTTId-X50AGeYtOsxjBlC5512qKGNd-ss4kt-n4uVcbgpXY_q93xB/s320/henning+koppel+1970+toast+rack.jpg" width="320" /></a></div>
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toast rack,1970</div>
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(no breakfast table can be without one)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipTUmfk-tKJPIfwbEprUsJ9dGkUbJXnqrkS_gOfZW786IkTLjcY5w3ZItCdxBh_UlFtR4bNfNDI1lRLBaUcsiVcevEH0PDI7rKesMqIWjsCe0Lik-P17br8TDDHlwq2k-binyu/s1600/henning+koppel+1978+tureen2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="497" data-original-width="800" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipTUmfk-tKJPIfwbEprUsJ9dGkUbJXnqrkS_gOfZW786IkTLjcY5w3ZItCdxBh_UlFtR4bNfNDI1lRLBaUcsiVcevEH0PDI7rKesMqIWjsCe0Lik-P17br8TDDHlwq2k-binyu/s320/henning+koppel+1978+tureen2.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKYCfHKfCqG1Icf2NmmdJKJGyn6gQPEsSgFcrInaroM9UEJFXKr4JdYAvEC4HB2guaGwZM1rkX9jzfTanoxPHRTeYYtsNvP43tIDQF3R2O-lJQfwK406HnGwCW5g6bjtj01v7m/s1600/henning+koppel+1978+tureen.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="750" data-original-width="800" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKYCfHKfCqG1Icf2NmmdJKJGyn6gQPEsSgFcrInaroM9UEJFXKr4JdYAvEC4HB2guaGwZM1rkX9jzfTanoxPHRTeYYtsNvP43tIDQF3R2O-lJQfwK406HnGwCW5g6bjtj01v7m/s320/henning+koppel+1978+tureen.jpg" width="320" /></a></div>
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tureen, 1978</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhZkciv2sI2RGgV81lNlk8H5tZhZV8qJpTpgTf0BqlqxHksaHjaLK-PLqSOnYOUb6chBot0uv1SraH6AtK2PWsXFS2pgwdZKgjrNYUwgeF6YpDxfJ71XwIVMB2MGlmOYtT6SoH/s1600/henning+koppel+candelabra.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="751" data-original-width="800" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhZkciv2sI2RGgV81lNlk8H5tZhZV8qJpTpgTf0BqlqxHksaHjaLK-PLqSOnYOUb6chBot0uv1SraH6AtK2PWsXFS2pgwdZKgjrNYUwgeF6YpDxfJ71XwIVMB2MGlmOYtT6SoH/s320/henning+koppel+candelabra.jpg" width="320" /></a></div>
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candelabra</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZgBGEaw-5z4ih5SM9fdHA2SM0jFT_y2MJ3VWtjqdUIGXA3uqB3TfmUNg5EVqQ4XJI9CP1O84caeXAPi14nwwmFXMTvS75XYihVcxcmxftzdlqJiHKjuAIrWAi7Yuaz7bPV_lf/s1600/henning+koppel+caravel+flatward+1957.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="691" data-original-width="800" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZgBGEaw-5z4ih5SM9fdHA2SM0jFT_y2MJ3VWtjqdUIGXA3uqB3TfmUNg5EVqQ4XJI9CP1O84caeXAPi14nwwmFXMTvS75XYihVcxcmxftzdlqJiHKjuAIrWAi7Yuaz7bPV_lf/s320/henning+koppel+caravel+flatward+1957.jpg" width="320" /></a></div>
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caravel flatware, 1957</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpe5TDLtY3JDgSQ_B7KwhK-N6QS8FJdCY4qxc3kMepEalSWplRurp_P3rrzKC4aSIA3WS7CsxHb9mIy-Oqxz01lheeLMNundJDs3uIT3QjCpie13BmtXi2jSd7CF3iwmSKEBrB/s1600/henning+koppel+pitcher2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="581" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpe5TDLtY3JDgSQ_B7KwhK-N6QS8FJdCY4qxc3kMepEalSWplRurp_P3rrzKC4aSIA3WS7CsxHb9mIy-Oqxz01lheeLMNundJDs3uIT3QjCpie13BmtXi2jSd7CF3iwmSKEBrB/s320/henning+koppel+pitcher2.jpg" width="232" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8TSULe4ircRcq7p7h3eK-i6Arrowro9_ZhUr7QxSKC2zynIF0BXn8IEUqX1e3FR5XIQHUCtqL_-dgp1uCBYLnZryimiZOmd5cr-RPBnUqCoft01a-YLqvt0qUwUGyxXcPrMMx/s1600/henning+koppel+pitcher3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="612" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8TSULe4ircRcq7p7h3eK-i6Arrowro9_ZhUr7QxSKC2zynIF0BXn8IEUqX1e3FR5XIQHUCtqL_-dgp1uCBYLnZryimiZOmd5cr-RPBnUqCoft01a-YLqvt0qUwUGyxXcPrMMx/s320/henning+koppel+pitcher3.jpg" width="244" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWugVOKoWK0E78-7JKr0D1dctKUrDZxfhHMHGlzvT0G7kacaZF_jeeZBFKjqfQpLESScn_B9HUY_DWru9H1Xl-hiFSTPwXUQtsct4Z-XSLV3tk0nsURjEuiXpWKXLfuYMjj7yU/s1600/henning+koppel+pitcher+1956l-1952r.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="732" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWugVOKoWK0E78-7JKr0D1dctKUrDZxfhHMHGlzvT0G7kacaZF_jeeZBFKjqfQpLESScn_B9HUY_DWru9H1Xl-hiFSTPwXUQtsct4Z-XSLV3tk0nsURjEuiXpWKXLfuYMjj7yU/s320/henning+koppel+pitcher+1956l-1952r.jpg" width="292" /></a></div>
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1951-52</div>
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1952</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaajHxgjHc0ZtGOT3YKVunyHqYk1J-FCsh5i2imIQHxKi65xRGBSmxjwYDOuUbd_AdsFoLE52o7LhXJkj0rqWa_d0mUUd8a6AKCAQKh3cuC0pxjsUT9SlCxRzB6nH5gSDlS4zB/s1600/henning+koppel+1952.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="800" data-original-width="587" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaajHxgjHc0ZtGOT3YKVunyHqYk1J-FCsh5i2imIQHxKi65xRGBSmxjwYDOuUbd_AdsFoLE52o7LhXJkj0rqWa_d0mUUd8a6AKCAQKh3cuC0pxjsUT9SlCxRzB6nH5gSDlS4zB/s320/henning+koppel+1952.jpg" width="234" /></a></div>
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1952</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWcWp_QjteouFjyT1bom_duCZj3QsSd8_Mx1zeVuU5WZLql1ff81_n-uEJwgqbDdDFkn10Y-Ro6IUOiUQWkRVyEDcxc_d5WO213ZuwaIozTC9IbbHO3kpAK8jrXZXzBTmwCJLa/s1600/henning+koppel+salt+and+pepper+1949.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="644" data-original-width="800" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWcWp_QjteouFjyT1bom_duCZj3QsSd8_Mx1zeVuU5WZLql1ff81_n-uEJwgqbDdDFkn10Y-Ro6IUOiUQWkRVyEDcxc_d5WO213ZuwaIozTC9IbbHO3kpAK8jrXZXzBTmwCJLa/s320/henning+koppel+salt+and+pepper+1949.jpg" width="320" /></a></div>
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Salt and Pepper, 1949</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR9hfaTgVh_Gx6MmGxxkdgPVpfjhTCrYqapgRiKVfI0B76vUG1rs2H5BwynL1Je16TAhwMhqd0RDPK4v35V8h2gMKbJxcuWJjqw41ogh74Wzj_u8hMASyfUmDnsu1_9K5VoUR-/s1600/jergen+jensen+1936+cannister.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="522" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR9hfaTgVh_Gx6MmGxxkdgPVpfjhTCrYqapgRiKVfI0B76vUG1rs2H5BwynL1Je16TAhwMhqd0RDPK4v35V8h2gMKbJxcuWJjqw41ogh74Wzj_u8hMASyfUmDnsu1_9K5VoUR-/s320/jergen+jensen+1936+cannister.jpg" width="208" /></a></div>
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Jorgen Jensen (1895-1966), Cannister, 1936</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW5xPWr9Ox-b8lLVvgo_R0-VuGmmobVJVOYfSWGZK00RquxwQGcwwaYD8Tvy7l9FQ55urFiVLG3RSTouGynxZtrAyIsAsYhnolLBBwy6888LeVW1iX90cQUnmODKIuKvf4X48l/s1600/jergen+jensen+maybe.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="531" data-original-width="800" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW5xPWr9Ox-b8lLVvgo_R0-VuGmmobVJVOYfSWGZK00RquxwQGcwwaYD8Tvy7l9FQ55urFiVLG3RSTouGynxZtrAyIsAsYhnolLBBwy6888LeVW1iX90cQUnmODKIuKvf4X48l/s320/jergen+jensen+maybe.jpg" width="320" /></a></div>
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Jorgen Jensen</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmJnvp4wItPiVuMcVIJ36Oba85nb_oV1djO72ScjAg2vXn0L55SIolDcCDhwpPQ5gkuS7ylC7_gd4oymnKSF0_Drf0UtotJIeWRP2KrEqUL_UqA4-H1vkJ2NzJuWhyphenhyphenEtgr6uGe/s1600/herbert+krenchel+-+krenit+bowls+1953.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="465" data-original-width="800" height="185" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmJnvp4wItPiVuMcVIJ36Oba85nb_oV1djO72ScjAg2vXn0L55SIolDcCDhwpPQ5gkuS7ylC7_gd4oymnKSF0_Drf0UtotJIeWRP2KrEqUL_UqA4-H1vkJ2NzJuWhyphenhyphenEtgr6uGe/s320/herbert+krenchel+-+krenit+bowls+1953.jpg" width="320" /></a></div>
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Herbert Krenchel, (1922-2014)</div>
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Krenit bowls (steel and enamel), 1953,</div>
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Torben Orkov and Co.</div>
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The bowls were formed from millimeter-thin sheet metal and coated on the outside with sandblasted black fiber cement (asbestos-free Eternit); Inside, an enamel layer is applied in bold colors<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPo_JMsSm8MEi79Hh8SUbHMq4eZALQIrbHlF02k4-hhDKqzjfuxL3m2CGJc0J6jVDJHXRFa7XtvILq7Av327a9FBVZQ4nAL9GdNa0OwBQaHlYtPBFyeqLE45NZ8Gr9z3n_B7qA/s1600/magnus+stephensen+1954.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="529" data-original-width="800" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPo_JMsSm8MEi79Hh8SUbHMq4eZALQIrbHlF02k4-hhDKqzjfuxL3m2CGJc0J6jVDJHXRFa7XtvILq7Av327a9FBVZQ4nAL9GdNa0OwBQaHlYtPBFyeqLE45NZ8Gr9z3n_B7qA/s320/magnus+stephensen+1954.jpg" width="320" /></a></div>
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Magnus Stephensen (1903-1984), 1954</div>
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stainless steel</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkmGFJY_OPEEPGv6mLGKZcE2hWap_HhyX9i4TLDL1csYUd-go7_aNc8V1J5D8Cd3M4r0DNej-lJVzMb28OT2HBwGvIp3KkBpcxmkRn4RYwG-j3y1BOBQhTrG8mj_qFAVVLKMM2/s1600/magnus+stephensen+1958+steel.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="708" data-original-width="800" height="283" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkmGFJY_OPEEPGv6mLGKZcE2hWap_HhyX9i4TLDL1csYUd-go7_aNc8V1J5D8Cd3M4r0DNej-lJVzMb28OT2HBwGvIp3KkBpcxmkRn4RYwG-j3y1BOBQhTrG8mj_qFAVVLKMM2/s320/magnus+stephensen+1958+steel.jpg" width="320" /></a></div>
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1958</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpSYbHMWOhDOC88yXCcMk6MRHXHU08LhAtbmf5FfdAz2OQ4bhxuaocmGeSfNABuvgua_5IilFaZUvDs7S0lcDt-50ZtpcxRsr4W-LZZS-eOFNgBOCbYUTk5DyEsYASoW5dxRw8/s1600/magnus+stephensen+coffee+server+steel.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="614" data-original-width="800" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpSYbHMWOhDOC88yXCcMk6MRHXHU08LhAtbmf5FfdAz2OQ4bhxuaocmGeSfNABuvgua_5IilFaZUvDs7S0lcDt-50ZtpcxRsr4W-LZZS-eOFNgBOCbYUTk5DyEsYASoW5dxRw8/s320/magnus+stephensen+coffee+server+steel.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilYORKjB4Tzn9W_gUdcbsM6SgKjz8XCNAR_qb2nBpusBbuTrDeNghAneDz8vsLe4tjC8h1znzOHcomlPBOoqw0bbz36g6SUofTrvShWsSYbEiqS_Ak_9hAiImmZqQLj6EZZsh5/s1600/magnus+stephensen+moma2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="672" data-original-width="668" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilYORKjB4Tzn9W_gUdcbsM6SgKjz8XCNAR_qb2nBpusBbuTrDeNghAneDz8vsLe4tjC8h1znzOHcomlPBOoqw0bbz36g6SUofTrvShWsSYbEiqS_Ak_9hAiImmZqQLj6EZZsh5/s320/magnus+stephensen+moma2.jpg" width="318" /></a></div>
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Ice bucket,1951</div>
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(MOMA --- not in this show)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKv3aZVReXlgvxLQOkPhLpIWqbLEfEYk0gOuFFyhwQ-gJwJwHG1zCO-9sPScdippKUMY3SWuspLY8_Sl7nzNXmyGPG6WgRjDgS37gotdu2QjIsLAxlLL6hKFYOIMSf9mjMAvwS/s1600/magnus+stephensen+moma.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="671" data-original-width="674" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKv3aZVReXlgvxLQOkPhLpIWqbLEfEYk0gOuFFyhwQ-gJwJwHG1zCO-9sPScdippKUMY3SWuspLY8_Sl7nzNXmyGPG6WgRjDgS37gotdu2QjIsLAxlLL6hKFYOIMSf9mjMAvwS/s320/magnus+stephensen+moma.jpg" width="320" /></a></div>
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covered serving dish, 1957 (MOMA --- not in this show)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWDLtlV0fWcusjHy9v_q_nbqc-tvgV8Z07qfZIoyGvddn2Lt-RNdY4wn_j53qonzujvJTykhuLmdm-ZIf-V5Wv0pG1EfqC-XpSarFnrZ5wT7mWLXEDBf9ZpPuyK_fqTJHc18Cu/s1600/magnus+stephensen+silver+serving+dish+1952.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="457" data-original-width="800" height="182" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWDLtlV0fWcusjHy9v_q_nbqc-tvgV8Z07qfZIoyGvddn2Lt-RNdY4wn_j53qonzujvJTykhuLmdm-ZIf-V5Wv0pG1EfqC-XpSarFnrZ5wT7mWLXEDBf9ZpPuyK_fqTJHc18Cu/s320/magnus+stephensen+silver+serving+dish+1952.jpg" width="320" /></a></div>
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1952</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgDy6nj9XdmSbZ-83RhcszdN_6rDwzLSxwf-UAh2clrdu-2zf-ckt1Im8-zQVpnyJjPBpVwHZhODCDjUpe_CVIcgIUytac18bH2_bBlwFXxyLd0YFm2OTzfCkU_N0snNlUqB-t/s1600/piet+hein+super+egg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="467" data-original-width="493" height="303" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgDy6nj9XdmSbZ-83RhcszdN_6rDwzLSxwf-UAh2clrdu-2zf-ckt1Im8-zQVpnyJjPBpVwHZhODCDjUpe_CVIcgIUytac18bH2_bBlwFXxyLd0YFm2OTzfCkU_N0snNlUqB-t/s320/piet+hein+super+egg.jpg" width="320" /></a></div>
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Piet Hein,(1909-1966), Super Egg</div>
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This hollow ellipical box applies the geometric formula of the "super elipse" developed by Piet Hein</div>
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who was a scientist and poet as well as designer.</div>
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***************</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxsrQz2TD6mC-wFxj_mHcltqbKCsLm-Sj2aqY1EaDrmJsHs3HB5SAXmZEGOAbqdspxfSgWXbiELX0Un1SAzILQ3b_JQNnAdwmVHY8SwlBQ_NwcVgQCdWY17XxGVmB_mHJjg8n8/s1600/seren+georg+jensen+1950+stackable+teapot.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="771" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxsrQz2TD6mC-wFxj_mHcltqbKCsLm-Sj2aqY1EaDrmJsHs3HB5SAXmZEGOAbqdspxfSgWXbiELX0Un1SAzILQ3b_JQNnAdwmVHY8SwlBQ_NwcVgQCdWY17XxGVmB_mHJjg8n8/s320/seren+georg+jensen+1950+stackable+teapot.jpg" width="308" /></a></div>
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Soren Georg Jensen (1917-1982), stackable tea pot, 1950<br />
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Another son who apprenticed into the silversmithery and went to art school. </div>
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He became the company's artistic director in 1962 and spent his final years as an abstract sculptor.</div>
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The pieces shown below are stainless steel.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmM1lyiGYhvi_0eG3KVXDC1jzhyphenhyphenN0UL7qEtw9vm2iZWnuCgkEnaffA_1VRj6H_I1xoCPLFOB4tiqnZ2VoBaKJKnyC1hSZZxodVT4jLxUw_m9tZNHfWVEsmMtPMhzwrFkV4HBxn/s1600/soren+georg+jensen+1959+candelabra.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="560" data-original-width="800" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmM1lyiGYhvi_0eG3KVXDC1jzhyphenhyphenN0UL7qEtw9vm2iZWnuCgkEnaffA_1VRj6H_I1xoCPLFOB4tiqnZ2VoBaKJKnyC1hSZZxodVT4jLxUw_m9tZNHfWVEsmMtPMhzwrFkV4HBxn/s320/soren+georg+jensen+1959+candelabra.jpg" width="320" /></a></div>
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1959</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9sTfgKsUQmYqhOMP14d_XFJBFuhG517s9RQFfn8RBaE3ze91wn2IO4EfplEbdCNBhF9QQj1t4er3_zeF_mw47H2EhJLoffHImpfnxw2bXUxg7xoGF5HT1jYue7eha3KK7WFJ6/s1600/soren+georg+jensen+1963+coffee+tea+steel.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="675" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9sTfgKsUQmYqhOMP14d_XFJBFuhG517s9RQFfn8RBaE3ze91wn2IO4EfplEbdCNBhF9QQj1t4er3_zeF_mw47H2EhJLoffHImpfnxw2bXUxg7xoGF5HT1jYue7eha3KK7WFJ6/s320/soren+georg+jensen+1963+coffee+tea+steel.jpg" width="270" /></a></div>
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1963</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs2U5c_seNOWbiffCIMBY78JHBpuWZ4gUdl9G9qeh_BYuJw8YdnmD5yB3JGH9Nv0g43CZCZ44QtLB40sqkq2XlpHbuGBwWwQk00Gh4yxYG3XVGVcWqXSCh2jdsgStrGDbmSH2g/s1600/soren+georg+jensen+1963+condiment.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="619" data-original-width="800" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs2U5c_seNOWbiffCIMBY78JHBpuWZ4gUdl9G9qeh_BYuJw8YdnmD5yB3JGH9Nv0g43CZCZ44QtLB40sqkq2XlpHbuGBwWwQk00Gh4yxYG3XVGVcWqXSCh2jdsgStrGDbmSH2g/s320/soren+georg+jensen+1963+condiment.jpg" width="320" /></a></div>
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1963</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimXC3vXC4tffSehMbk9xB4Ooy5qhSs1QegHpp83M8Vvc0Jlsiwcb67NlB-GbQP63ikbB_ejw6jTfILzGAJwxZyqhrEpkC9_r7eW76liT2Eqho4H972uTcZEdNtzqMJ1n_3k-Pc/s1600/svend+siune+blue+shark+steel+flatware+-+sigmar+pot.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="764" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimXC3vXC4tffSehMbk9xB4Ooy5qhSs1QegHpp83M8Vvc0Jlsiwcb67NlB-GbQP63ikbB_ejw6jTfILzGAJwxZyqhrEpkC9_r7eW76liT2Eqho4H972uTcZEdNtzqMJ1n_3k-Pc/s320/svend+siune+blue+shark+steel+flatware+-+sigmar+pot.jpg" width="305" /></a></div>
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Svend Siune (b. 1935), Blue Shark steel flatware</div>
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Siune is also a graphic artist - but it looks like the above flatware, designed early in his career, has been his claim to fame.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGRNoBqTYf4rJ3pM8rXbOx5POCodt94MtLjX4O5NY_sjwNFPJCde_dt4cJegcqrp94DunBxkk4nJylV6z02QpVLiJxnJLDYSF_0gutOasdb4dKj2kfgvk8SLNtTVlbknhef2CM/s1600/Verner+panton+1987+coffee+tea.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="693" data-original-width="800" height="277" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGRNoBqTYf4rJ3pM8rXbOx5POCodt94MtLjX4O5NY_sjwNFPJCde_dt4cJegcqrp94DunBxkk4nJylV6z02QpVLiJxnJLDYSF_0gutOasdb4dKj2kfgvk8SLNtTVlbknhef2CM/s320/Verner+panton+1987+coffee+tea.jpg" width="320" /></a></div>
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Verner Panton (1926-1998), 1987</div>
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Panton was already a celebrity designer </div>
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when he began designing for Georg Jensen.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_dS06iQCvG-Fx76mhRXnsCKMyqOUWC2a8CI-RY86yeiPvvOHBeOKjfS5U_mNODkRmy4fD8YQzYPm0agORg0p8orvRSe4-xfRUjXBaMcOVCnejXfrBMBKfcbJ-byXbjsY25_Tu/s1600/Verner+panton+1988+crash+plate.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="501" data-original-width="800" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_dS06iQCvG-Fx76mhRXnsCKMyqOUWC2a8CI-RY86yeiPvvOHBeOKjfS5U_mNODkRmy4fD8YQzYPm0agORg0p8orvRSe4-xfRUjXBaMcOVCnejXfrBMBKfcbJ-byXbjsY25_Tu/s320/Verner+panton+1988+crash+plate.jpg" width="320" /></a></div>
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Crash Plate, 1988</div>
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A tribute to the American ABX sculptor, John Chamberlain</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3-v18j1lQIzB-yyQNlOVr1_x4N8J3UwOtC-HXIJ6J3LNK3OYcVDq5Wqg1epGoYeEQVQkFZoU3v3PB4usHa5-aDUbRk_qgiqoKvmv_egpsM9YofPzNqPfSJUovxovp7B1HEiG1/s1600/Verner+panton+room.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="333" data-original-width="800" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3-v18j1lQIzB-yyQNlOVr1_x4N8J3UwOtC-HXIJ6J3LNK3OYcVDq5Wqg1epGoYeEQVQkFZoU3v3PB4usHa5-aDUbRk_qgiqoKvmv_egpsM9YofPzNqPfSJUovxovp7B1HEiG1/s320/Verner+panton+room.jpg" width="320" /></a></div>
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An architect by training, Panton also designed unique interiors</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEienGxBUL_hhKJ-B0uMV7eHL0Rb_UG89R4WikrcLPAuTAm5nJ2i9rhTVPRaOgVvvTAFL34yRtq8MkO3HoSytq5kwIhjWU9PT8TTmO_3NWykg0TiNvn8yBGLc0fPeRX5Gs_6b2f5/s1600/panton+chair.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="800" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEienGxBUL_hhKJ-B0uMV7eHL0Rb_UG89R4WikrcLPAuTAm5nJ2i9rhTVPRaOgVvvTAFL34yRtq8MkO3HoSytq5kwIhjWU9PT8TTmO_3NWykg0TiNvn8yBGLc0fPeRX5Gs_6b2f5/s320/panton+chair.jpg" width="320" /></a></div>
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He is best known for the Panton Chair, </div>
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designed in 1963 and first produced in 1968</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgURFjnl0sLUDgD9LA8M2yZJqrteuoIL9Wm5u_IW7xyaNzFf4QLDU0vuk-XQA-dGVhSZ9YZVFChATcwy_EBOTOOMxdh-ji8LqS_vmzz8k1eMgTvzp61c0MQyzXhwiTv2CFsfGjT/s1600/panton+chair2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="800" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgURFjnl0sLUDgD9LA8M2yZJqrteuoIL9Wm5u_IW7xyaNzFf4QLDU0vuk-XQA-dGVhSZ9YZVFChATcwy_EBOTOOMxdh-ji8LqS_vmzz8k1eMgTvzp61c0MQyzXhwiTv2CFsfGjT/s320/panton+chair2.jpg" width="320" /></a></div>
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Looks like a scene from "Austin Powers - the Spy who Shagged Me"</div>
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My father loved this kind of chair.</div>
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and I grew up sitting on quite a few.</div>
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The color and shape of the seat was the same,</div>
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but they rested on a frame</div>
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of black iron rod legs.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVPXgT4C0gp6FcwFnqmUeTBMPdA7y7q9l21VxvPDr83TMuTzbi3_b6Ybm14wlxBbWZpxA0Npnd5Xc6YQZbMrJGlST773dywTJf_aY19YZz7jLnWSLhJOQrSkajygAOOYsX1Txz/s1600/Vivianna+Torun+Bulow-Hube+1980-90+chandelier.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="451" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVPXgT4C0gp6FcwFnqmUeTBMPdA7y7q9l21VxvPDr83TMuTzbi3_b6Ybm14wlxBbWZpxA0Npnd5Xc6YQZbMrJGlST773dywTJf_aY19YZz7jLnWSLhJOQrSkajygAOOYsX1Txz/s320/Vivianna+Torun+Bulow-Hube+1980-90+chandelier.jpg" width="180" /></a></div>
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Vivianna Torun Bulow-Hube (1927-2004), </div>
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chandelier 1980-1990</div>
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Torun, famous for her jewelry, was</div>
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another celebrity designer hired to jazz up the offerings.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2bTWppAEXwL7k302oGCakB4KhxwbwC7vp1urgI0P61_crC1MXd-VFrtOWesK0VALDyxZ7UczQdJ_ZeU3qM91bxZbKjR7RYsSPbpHs6LjlStuiHMfYXK0FjYwoG7TaiTve3ZwR/s1600/Vivianna+Torun+Bulow-Hube+1980-90+chandelier2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="575" data-original-width="555" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2bTWppAEXwL7k302oGCakB4KhxwbwC7vp1urgI0P61_crC1MXd-VFrtOWesK0VALDyxZ7UczQdJ_ZeU3qM91bxZbKjR7RYsSPbpHs6LjlStuiHMfYXK0FjYwoG7TaiTve3ZwR/s320/Vivianna+Torun+Bulow-Hube+1980-90+chandelier2.jpg" width="308" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7QHZ-101tAj5o7p1WC_PD90UoUm636rN_J6pxvpgql5cgAiE7GdGJcqNDKUPcDxJnB7ADCWbWNBltijZRKLGKJCePy9W4M-k2iatH9gLmY9_Dc-KHG2vYmJAXgUB6QPPUnlAc/s1600/Vivianna+Torun+Bulow-Hube-flatware.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="557" data-original-width="800" height="222" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7QHZ-101tAj5o7p1WC_PD90UoUm636rN_J6pxvpgql5cgAiE7GdGJcqNDKUPcDxJnB7ADCWbWNBltijZRKLGKJCePy9W4M-k2iatH9gLmY9_Dc-KHG2vYmJAXgUB6QPPUnlAc/s320/Vivianna+Torun+Bulow-Hube-flatware.jpg" width="320" /></a></div>
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various designs of her flatware are still under production</div>
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************</div>
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************</div>
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************</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib1YoYuB_UP0QiAeRrwR6Lghw3Mb0cbMw71X6Ep2l843uw8WbBCEVUrGYH3vHzxbbE33_fYMzXMAg0YsPquO5pHYqe99zoQd2kIdct2yjDW4R1qnHO3IrqjSUaEx-NYABKWqGe/s1600/sivert-Thorsteinson-1759.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="618" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib1YoYuB_UP0QiAeRrwR6Lghw3Mb0cbMw71X6Ep2l843uw8WbBCEVUrGYH3vHzxbbE33_fYMzXMAg0YsPquO5pHYqe99zoQd2kIdct2yjDW4R1qnHO3IrqjSUaEx-NYABKWqGe/s320/sivert-Thorsteinson-1759.jpg" width="247" /></a></div>
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Sivert Thorsteinsson, 1759</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNpA2jJWmdR2GYZfiyEwD2ZwUUlleVZv5RuEbnxQoFT9AB_OLaOj40TiVP96seNBt2U8NJmdO6bBliMSf3_G_3tNwNApDH011Y1gE0D6G83HOlHyoJp5B1LMkXtKRyQ0Wl9RRZ/s1600/sivert-Thorsteinson-detail.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="564" data-original-width="800" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNpA2jJWmdR2GYZfiyEwD2ZwUUlleVZv5RuEbnxQoFT9AB_OLaOj40TiVP96seNBt2U8NJmdO6bBliMSf3_G_3tNwNApDH011Y1gE0D6G83HOlHyoJp5B1LMkXtKRyQ0Wl9RRZ/s320/sivert-Thorsteinson-detail.jpg" width="320" /></a></div>
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By way of comparison to the 20th Century Scandinavian silver in this show --- consider this lively piece made in Copenhagen in the 18th Century. It looks like it's quite capable of walking - or even flying - right of the coffee table.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq6N3LepMITz27pO_psdY0WkDNDZtCENYo1c0z9a8jo25agyaFRsG5ckCJBSHhktH0AORU2O7NuR6ya96us1HM9bLlUaHQOc9vkqttabwyQXVRsmoar1v4gNfOX_ZN7keDFSzu/s1600/17th+spoon.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="800" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq6N3LepMITz27pO_psdY0WkDNDZtCENYo1c0z9a8jo25agyaFRsG5ckCJBSHhktH0AORU2O7NuR6ya96us1HM9bLlUaHQOc9vkqttabwyQXVRsmoar1v4gNfOX_ZN7keDFSzu/s320/17th+spoon.jpg" width="320" /></a></div>
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Here's a Danish spoon from the 17th century that's no more ornate than something Jenson might have produced -- but it certainly feels different. Is 'classical' the right word?<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHogUVUuPd-53d8tmNubobI4STjJA0RK3deJ4c7guyDEWlJ5Ohvun9pRlQxpHSUoz41ArKmn8H68WvWNZxKbMc6SISqRc86tKw8v0O5DrXZc3FoAshvY_VXVpJlnKA485p-wBR/s1600/tyge-Madsen-Werum-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="616" data-original-width="800" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHogUVUuPd-53d8tmNubobI4STjJA0RK3deJ4c7guyDEWlJ5Ohvun9pRlQxpHSUoz41ArKmn8H68WvWNZxKbMc6SISqRc86tKw8v0O5DrXZc3FoAshvY_VXVpJlnKA485p-wBR/s320/tyge-Madsen-Werum-2.jpg" width="320" /></a></div>
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Tyge Madsen Werum, 1736</div>
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This piece is not as wild as the Thorsteinsson piece above -- but it also feels more vegetative than pieces from the 20th Century.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLL1lpu3qOmJo0-Hp3bICQ40VZYkjKoi9WYE1qzG5z87yCAK37Wld1cZGeeOmvIS-XdAsU_WeKRq9XtpPWT25KkrENm88MMgSew8pH5S-za0ky_auz9ueokRHjUk2aEN7OIglw/s1600/tyge-Madsen-Werum-1737.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="654" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLL1lpu3qOmJo0-Hp3bICQ40VZYkjKoi9WYE1qzG5z87yCAK37Wld1cZGeeOmvIS-XdAsU_WeKRq9XtpPWT25KkrENm88MMgSew8pH5S-za0ky_auz9ueokRHjUk2aEN7OIglw/s320/tyge-Madsen-Werum-1737.jpg" width="261" /></a></div>
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Tyge Madsen Werum, 1737</div>
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This piece could be early 20th Century - except for the detailed medallion.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlMVgitWuzprYDeok6lKAfImCfWMrVxm8Fe0ocSRy6XW1DtsYCOkm6bceK0IGkgZHfwa4Z-rLLQAOEUsk4D5GLtJg4YNW_xIWcqUWv3nRaYJUf6Gr2aXDtVk8wV8x_3jjTcHZQ/s1600/tyge-Madsen-Werum-1737-detail.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="612" data-original-width="800" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlMVgitWuzprYDeok6lKAfImCfWMrVxm8Fe0ocSRy6XW1DtsYCOkm6bceK0IGkgZHfwa4Z-rLLQAOEUsk4D5GLtJg4YNW_xIWcqUWv3nRaYJUf6Gr2aXDtVk8wV8x_3jjTcHZQ/s320/tyge-Madsen-Werum-1737-detail.jpg" width="320" /></a></div>
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What's especially wonderful about silver is it's mirror-like surface. So comparisons made from photo reproductions are problematic. The camera cannot capture the way some of these vessels seem to float in space.<br />
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It does seem that 20th century Danish is not radically different from what came before. It does seem to emphasize, however, the personal and aspirational rather than the natural or the social.<br />
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Also new, and perhaps irreversibly different, is the industrialization of production.<br />
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Georg Jensen was trained as both a sculptor and silversmith. By the middle of the twentieth century, the leading designers had never touched hammer and torch. They were pioneers in the field of industrial design.<br />
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One exception would be Allan Scharff who apprenticed as a silversmith at the age of 18 -- and ended up making silver hollowware worthy of Brancusi.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKSlSuS9bZQQ_oEfGITUqdmxl-xx2h51ZF4k3v2Ex0_oEasOYhIJ6f3UBo3NHdkedlPki5mBfp5q92sE7fhz4fec998ooFPxtIVS2vJgn6-X0WsTkLP8dZGDMaGmnJJOHkb_I_/s1600/allan+scharff+1990+ibis+pitcher.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="758" data-original-width="800" height="303" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKSlSuS9bZQQ_oEfGITUqdmxl-xx2h51ZF4k3v2Ex0_oEasOYhIJ6f3UBo3NHdkedlPki5mBfp5q92sE7fhz4fec998ooFPxtIVS2vJgn6-X0WsTkLP8dZGDMaGmnJJOHkb_I_/s320/allan+scharff+1990+ibis+pitcher.jpg" width="320" /></a></div>
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Allan Scharff (b. 1945), Ibis pitcher </div>
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with Flycatcher and Snipe bonbonierres, 1990</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2uJpjEIaoy8CRLwDL1vuRCZz7MqbMZbIPsDdSna9eQCs1TCOklv6gmZj67OgRZDUb_lhjtj_bWqvmlQU3p7w7VJreoPc11FcoUCqcDQuzpgNWl9VP8HTOuYR6kO3X3p9OHBRN/s1600/allan+scharff+flycatcher+and+snipe+bonbonierres.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="625" data-original-width="800" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2uJpjEIaoy8CRLwDL1vuRCZz7MqbMZbIPsDdSna9eQCs1TCOklv6gmZj67OgRZDUb_lhjtj_bWqvmlQU3p7w7VJreoPc11FcoUCqcDQuzpgNWl9VP8HTOuYR6kO3X3p9OHBRN/s320/allan+scharff+flycatcher+and+snipe+bonbonierres.jpg" width="320" /></a></div>
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Allan Scharff, Mars Base Dish, 1995</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0Y6qlnF-Ola_A2Jkj8k3P0UQxhhQLNyzHvjEjVMf1Iyn1GUFQHAPvopC5hmx6C9d0JKls84h5fFuTajmqSE6ZuOBDCxLZPu5ganM0GebKM1uuD6qcvDkwnYOwu_QQ-qWNuGJX/s1600/allan+scharff+mars+base+dish+1995.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="680" data-original-width="800" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0Y6qlnF-Ola_A2Jkj8k3P0UQxhhQLNyzHvjEjVMf1Iyn1GUFQHAPvopC5hmx6C9d0JKls84h5fFuTajmqSE6ZuOBDCxLZPu5ganM0GebKM1uuD6qcvDkwnYOwu_QQ-qWNuGJX/s320/allan+scharff+mars+base+dish+1995.jpg" width="320" /></a></div>
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Not to say that this piece does not belong on a dining table --</div>
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but its functionality as a serving dish is debatable</div>
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Sadly, the company that currently owns the name of Georg Jensen is mostly producing designs by artists who passed away decades ago,<br />
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There may well be some exciting new designs being transformed into silver -- but finding them presents quite a challenge.<br />
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Possibly, the Georg Jensen Company has marked the end, rather than the beginning, of a great tradition of silversmithing.<br />
<br />chris millerhttp://www.blogger.com/profile/09575033275184403015noreply@blogger.com0tag:blogger.com,1999:blog-19047760.post-30724598779080965212018-10-23T17:52:00.000-05:002018-12-06T18:45:40.963-06:00A trip to Western New York<div class="separator" style="clear: both; text-align: center;">
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The early seventies found me in Buffalo, New York -- conveniently located near an international border where draft dodgers like myself might seek refuge.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWPKn1vz2UFLgG3b1Bzi6113G00SJDJO5_8mLlt6H4OrPx9pj4oFODywOp6clLoIqjUugsphlUovKYz2Ys0dgBbVDq41O9GP57IMMQYDvlyGJeVIWXvSqp5GDvj4mqvuElUVM0/s1600/lancaster+house3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="600" data-original-width="800" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWPKn1vz2UFLgG3b1Bzi6113G00SJDJO5_8mLlt6H4OrPx9pj4oFODywOp6clLoIqjUugsphlUovKYz2Ys0dgBbVDq41O9GP57IMMQYDvlyGJeVIWXvSqp5GDvj4mqvuElUVM0/s200/lancaster+house3.jpg" width="200" /></a></div>
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love these bay windows
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I had obtained a graduate student fellowship in American Studies -- and happily enough, I coupled with a beautiful young Anthropology professor. Her financial bona fides enabled a group of fellow students, or near students, to buy the Victorian structure shown above.<br />
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We were a little too straight to qualify as hippies. None of us did psychedelic drugs or read Tarot cards-- but we called our domestic arrangement a "commune". We had a job wheel, collective decision making, communal meals, and felt ourselves to be pioneers of a post-capitalist, post-nuclear family, brave new world.<br />
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I can't remember doing so -- but I'm told that we ceremoniously planted that London Plane tree in the front yard -- back when it was a mere sapling.<br />
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After nearly fifty years, it's amazing that the house looks much as it did back then. Even more amazing is the fact that my sweet young anthropologist -- now a proud grandmother and professor emeritus-- still lives there with her husband and keeps in touch with almost all the former communards still living.<br />
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And more amazing still is the survival of this decorative frieze that I painted on masonite and hung near the ceiling of the dining room. It offers portraits of each inhabitant.<br />
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A portrait of the artist himself</div>
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The scholar who loved him</div>
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The commune's unofficial rabbi who officiated over the weekly Sabbath dinner.<br />
(many of us were not Jewish -- but ceremonial dinners are fun). He was also a gay activist and poet.<br />
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The woman on the right has continued to live in a scaled down communal arrangement </div>
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in Portland with two other Buffalo alumni.</div>
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(I haven't shown all of the portraits - not for any less fondness for the subjects</div>
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-- but for less satisfaction with my design)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPpHzcAPj2Qn3TorSMiof1PBOGcKZPL06GboQt_8V9qPAIxtuVKyh-KQ0pW7hVpjzKxvVTMLYwgo8msEBlwNDrYnnvpc8-kN_ZkpOELSZKwTaGyAUd4JogHDkUAd9xPl9LgV5a/s1600/phil+durgan.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="615" data-original-width="800" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPpHzcAPj2Qn3TorSMiof1PBOGcKZPL06GboQt_8V9qPAIxtuVKyh-KQ0pW7hVpjzKxvVTMLYwgo8msEBlwNDrYnnvpc8-kN_ZkpOELSZKwTaGyAUd4JogHDkUAd9xPl9LgV5a/s320/phil+durgan.jpg" width="320" /></a></div>
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One of the home's current treasures is this ABX masterpiece by Phil Durgan - a free spirit who came to Buffalo about thirty years after I left. He had taught himself how to make exciting paintings before his tragic death in 2014.<br />
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It really crackles with energy - almost like <a href="http://mountshang.blogspot.com/2014/06/yahoo-calligraphy.html">
the eccentric calligraphy of the Ming Dynasty.</a><br />
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The painting was acquired at a raffle at the Burchfield-Penney Art Center.<br />
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Bruce Adams</div>
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This visit coincided with Allentown's First Friday - where all the neighborhood art galleries stay open late.<br />
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Above, two white, middle class American couples in the 1940's have gathered around the radio to enjoy a cup of tea. That's the world I was born into. Today, I suppose, their great grandchildren would all be looking at their smart phones when they gather together.<br />
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It feels a bit nostalgic - which is O.K. with me.<i> </i> I'd be surprised to find this such work shown in Chicago - which tends to have more nostalgia for the 1950's.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8RUNt_ycdddUyhC2y3BVPlYB21dBUAHj2kNj3Bu0_DftFAaPzt78MUsps7xrjFQ9dfxJcnC0VQ1qMOKD0PTRrkIYu6kwCiIln6TQBzEhk35z5opM6mJldlO2vIrPb3lOwaysR/s1600/x-felice+koenig+-+feeling+good.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="778" data-original-width="800" height="311" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8RUNt_ycdddUyhC2y3BVPlYB21dBUAHj2kNj3Bu0_DftFAaPzt78MUsps7xrjFQ9dfxJcnC0VQ1qMOKD0PTRrkIYu6kwCiIln6TQBzEhk35z5opM6mJldlO2vIrPb3lOwaysR/s320/x-felice+koenig+-+feeling+good.jpg" width="320" /></a></div>
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Felice Koenig, "Feeling Good" (Nina Simone)</div>
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I enjoy these puzzle pieces where the challenge is to find the pattern. The title of the piece does seem appropriate..<br />
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I've seen this kind of thing in Chicago -- indeed, the artist herself grew up in one of the northern suburbs. It could also probably be found anywhere in the United States -- or even the world.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5fYZaXrSVxd7KNQkOZiXnIT2_4uowlHDy0KF3FN8foEqaYT2ujivzzPCqS9G67WkSxI_JJhN_57_pxm6pxfumnl72WLQmc4uh54RjwumRhRvYl9gRVbtN50MN4uqeFuAMKV5o/s1600/x-john+dickson+sun+moon.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="388" data-original-width="800" height="154" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5fYZaXrSVxd7KNQkOZiXnIT2_4uowlHDy0KF3FN8foEqaYT2ujivzzPCqS9G67WkSxI_JJhN_57_pxm6pxfumnl72WLQmc4uh54RjwumRhRvYl9gRVbtN50MN4uqeFuAMKV5o/s320/x-john+dickson+sun+moon.jpg" width="320" /></a></div>
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John Dickson, "Sun and Moon"</div>
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This artist mostly does conceptual installations on environmental themes.<br />
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So it's surprising that he's so good with black and white graphics.<br />
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Nathan Naetzker</div>
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This is a plein air depiction of Lake Erie. </div>
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A bit foreboding -- wouldn't you say?</div>
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I can't imagine Lake Michigan being presented this way<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigbqfRyfoeN-e7o2CT88v5pDXL4xAyt6ty7bpLF8IOjJMsVysdbe6wwF8DuUMFmJN9_XYI3QK_6kkjnrvZv58Xolgp3JoNC8p13lTmW2_ixqzxfMYERc2tx5DO6hgLHIkArUzp/s1600/x-polly+little.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="668" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigbqfRyfoeN-e7o2CT88v5pDXL4xAyt6ty7bpLF8IOjJMsVysdbe6wwF8DuUMFmJN9_XYI3QK_6kkjnrvZv58Xolgp3JoNC8p13lTmW2_ixqzxfMYERc2tx5DO6hgLHIkArUzp/s320/x-polly+little.jpg" width="267" /></a></div>
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Polly Little</div>
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Another piece that would have to be called sentimental, but </div>
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just a little too well composed to be called naive.</div>
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Richard Angelo Runfola</div>
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There was an entire gallery filled with this young man's work. He studies architecture at a local university.<br />
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All his pieces were fun -- though I'm not sure I'd want to look at them every day.<br />
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Then it was on to the Albright-Knox Gallery - </div>
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which, conveniently , was open the evening we arrived.</div>
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Emile Pierre Branchard, 1928</div>
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A self taught New York City laborer whose paintings caught the eye of a dealer -- and then MOMA - and then me.<br />
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I did not note the title -- but I would all it "The Road to Death"<br />
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William Glackens, Jetties at Bellport, 1912</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkc5ftc6nzNmiKJNsE1rQagCTT0G0J-b0veCmRyzkytSeq7EwOsDq_xe0JGGGjqCs962Cgpa7OapLoieCM5xNIX4OFKjZofhkF7d5Toi94eWK-9ukBFrp-jmEITWM1V0BRKBoF/s1600/w-glackens+jetties+at+bellport+detail.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="679" data-original-width="800" height="271" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkc5ftc6nzNmiKJNsE1rQagCTT0G0J-b0veCmRyzkytSeq7EwOsDq_xe0JGGGjqCs962Cgpa7OapLoieCM5xNIX4OFKjZofhkF7d5Toi94eWK-9ukBFrp-jmEITWM1V0BRKBoF/s320/w-glackens+jetties+at+bellport+detail.jpg" width="320" /></a></div>
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.a happy, watery little detail</div>
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Philip Clarkson Elliott, 1943</div>
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A Buffalo painter who taught at the local university for many years --</div>
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and apparently admired Charles Sheeler.</div>
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There's a loneliness and severity that is hard to find in Chicago painting from that period.</div>
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Georg Baselltz, 1976</div>
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Not really one of my favorites at the museum,</div>
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but I did wonder how it looked</div>
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before the artist turned it upside down.</div>
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This small image cannot really show us how the painting would<br />
have appeared were it not inverted.<br />
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It does look kind of funky, dramatic, urban, edgy.</div>
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It might have even caught my eye.</div>
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Willem DeKooning, Gotham News, 1955</div>
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This piece is so much more enjoyable than the more famous, and more painful,</div>
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DeKooning painting, "Excavation" (1950) ,</div>
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that I see frequently at the Art Institute of Chicago.</div>
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detail</div>
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It may be depicting a disaster.... but it's a vibrant and beautiful one.</div>
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Possibly the artist was happier in 1955 than he was in 1950.</div>
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detail</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3M-luSjU-ObRe8q207J2kBMklRpQxL1HOGlgpPj5_ytPqXrEoIxulOmzrM2L58-NA39t5MtL1q6PGDtrh0jl4jvZX9yvc2630KAeQOTuOYLvBqwIIEu5N7yHTa7fYpV9xLsti/s1600/w-dekooning+1977.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="706" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3M-luSjU-ObRe8q207J2kBMklRpQxL1HOGlgpPj5_ytPqXrEoIxulOmzrM2L58-NA39t5MtL1q6PGDtrh0jl4jvZX9yvc2630KAeQOTuOYLvBqwIIEu5N7yHTa7fYpV9xLsti/s320/w-dekooning+1977.jpg" width="282" /></a></div>
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Willem DeKooning, Untitled V, 1977</div>
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And I find this later piece more enjoyable,dramatic,and satisfying than Untitled XI (1975) that sometimes hangs at the Art Institute of Chicago<br />
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Arshile Gorky, "The Liver is the Cock's Comb" (1944)</div>
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IMHO this is the great piece in the Albright-Knox Gallery -- and one of the masterpieces of mid 20th Century heroic painting -- on the level of José Clemente Orozco's "Man of Fire" (1936–39).<br />
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It never quits.<br />
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It's at the verge of figurative--- within a pictorial space that approaches<br />
a romantic tableaux by Delacroix.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwTZFPaUdzHJoNGk3dTKivbu_c7HzTezA6n6PPjYisIf_BwiGHfzeHmRDMZZzr-ybzQzH2KQRd3vhiXDqjYG6e0zAmfjPgIQ7j66NYHSs4UjoQy3B4bwrffwEEI4sE-PcqpDkz/s1600/w-piero+dorazio+1976.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="785" data-original-width="800" height="314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwTZFPaUdzHJoNGk3dTKivbu_c7HzTezA6n6PPjYisIf_BwiGHfzeHmRDMZZzr-ybzQzH2KQRd3vhiXDqjYG6e0zAmfjPgIQ7j66NYHSs4UjoQy3B4bwrffwEEI4sE-PcqpDkz/s320/w-piero+dorazio+1976.jpg" width="320" /></a></div>
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Piero Dorazio, 1976 (detail)</div>
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Jackson Pollock, Convergence (1952)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjejhV1RidmY1DUxHE0CXsjcgkpfmm5o5lzwNbVivgqBal9Tv5VO_0ffirgZXAgNW4iStjYwx-lgEhmVV89BKv_jFXb9_EoXjIgZOxf21uXTr2U7oRRGi6JFuGE0J3BIHB9sLJQ/s1600/W-POLLOCK+CONVERGENCE+DETAIL2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="723" data-original-width="800" height="289" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjejhV1RidmY1DUxHE0CXsjcgkpfmm5o5lzwNbVivgqBal9Tv5VO_0ffirgZXAgNW4iStjYwx-lgEhmVV89BKv_jFXb9_EoXjIgZOxf21uXTr2U7oRRGi6JFuGE0J3BIHB9sLJQ/s320/W-POLLOCK+CONVERGENCE+DETAIL2.jpg" width="320" /></a></div>
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This is the first Pollock that I've ever enjoyed.</div>
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- though these small, spectral screen images do now make me wonder why.</div>
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(The Albright Knox also had a few pieces by Joan Mitchell -</div>
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and I'm still waiting to see anything by her that </div>
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doesn't feel awkward and half baked.)</div>
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I'm sure that the De Kooning, Gorky, and Pollock were all up on the walls of the Albright-Knox back when I lived in Buffalo, fifty years ago --- though I never noticed them.<br />
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I was much more interested in their small collection of pre-modern art -- most of which was auctioned off about twenty years ago. These days, the closest city with an encyclopedic collection would be Cleveland or Toronto.<br />
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The Milwaukee Art Museum also abandoned any attempt to be encyclopedic after they remodeled and re-installed their collection two years ago. They still have a much greater variety of stuff than the Albright-Knox -- but they got rid of everything that was not within their areas of strength. (so they still show all their Haitian art - but no longer show their Chinese Buddhist sculpture)<br />
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It's an arrangement that may better serve the reputation of the museum and its staff -- but poorly serves young people who are just beginning to discover the world of art.<br />
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****</div>
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Apparently the museum still owns the Gainsborough portrait of Miss Evans --- though now it's partially attributed to the obscure nephew instead of the famous uncle.<br />
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The ostensible purpose of this trip was to attend a Miller family wedding in Chautauqua, New York.<br />
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The bride and groom were both unusually attractive, and since all of the parents are talented theater performers, the reception was unforgettable..<br />
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The only photos I took, however, were of the miniature sculpture garden next to the family cottage.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6KJoBUhgzNZJLZsoW5NGNetZDfd0VqaCIbyiVEmLgGfVAxEWi_y6YuMM5U2XIocA78RW7qZ0FC-i8iFoRZlcMfRyaoMj14o8k97HYvR7ODqscYLx3au3HVKI1XCAH4hRhadJF/s1600/y-rjm1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="800" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6KJoBUhgzNZJLZsoW5NGNetZDfd0VqaCIbyiVEmLgGfVAxEWi_y6YuMM5U2XIocA78RW7qZ0FC-i8iFoRZlcMfRyaoMj14o8k97HYvR7ODqscYLx3au3HVKI1XCAH4hRhadJF/s320/y-rjm1.jpg" width="320" /></a></div>
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When my father died, a house full of sculpture was left behind </div>
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-- and several small bronzes have ended up here.</div>
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A perfect setting for them ! </div>
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They compete quite well with the foliage.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh18OrrtbroKwe8VRdMiAowhaMuVlwhesLl3Nmm8JYXaV5c7cgQl46PbpSHiymaqm3S55TozHc_kDb3K2YRoYfxLcXJ7vI7xIkZoc7EOpWhzFEdptZWo9UvI8-fHajzjHdyh0Wg/s1600/y-rjm3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="742" data-original-width="800" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh18OrrtbroKwe8VRdMiAowhaMuVlwhesLl3Nmm8JYXaV5c7cgQl46PbpSHiymaqm3S55TozHc_kDb3K2YRoYfxLcXJ7vI7xIkZoc7EOpWhzFEdptZWo9UvI8-fHajzjHdyh0Wg/s320/y-rjm3.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsTTtMlDfk67WJGWxKxlzZQ_HK4naOwCxIRMfqbXAWr4qfnCYWyoNhvWFmQEyvGHRd6lX0DoBhcnZkjKQzB3YM2rn7OKKdLFJNbIuOdIjW8PG-nO-PZChxdOEJPzQAkWfrqhiA/s1600/y-rjm5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="610" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsTTtMlDfk67WJGWxKxlzZQ_HK4naOwCxIRMfqbXAWr4qfnCYWyoNhvWFmQEyvGHRd6lX0DoBhcnZkjKQzB3YM2rn7OKKdLFJNbIuOdIjW8PG-nO-PZChxdOEJPzQAkWfrqhiA/s320/y-rjm5.jpg" width="244" /></a></div>
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This is a lyrical vision of humanity as</div>
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strong, sane, sexy, and gentle.</div>
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--- totally out-of-sync </div>
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with the Post-War American artworld.</div>
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Hopefully,</div>
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these pieces will escape being melted-down </div>
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before the aesthetic quality</div>
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of the surface is given greater monetary value</div>
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than the bronze metal beneath it.</div>
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Returning to Buffalo, we visited the Burchfield-Penney Art Center. I don't recall ever visiting it before the move into its impressive new facility across the street from the Albright-Knox. It mostly used to focus on Charles Burchfield, the local art hero.<br />
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Now it's dedicated to all the "distinguished artists of Buffalo, Niagara and Western New York"<br />
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There's nothing quite like it in Chicago -- where local art has yet to become the exclusive focus of any institution other than the Illinois State Museum. (currently suffering from the state's budget crisis) Local art is only shown if it relates to the contemporary artworld or a specific ethnic identity (Mexican, Greek, African American etc )<br />
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I'd like to take this opportunity to write about some of these artists -- as well as compare them to the artists of Chicago.<br />
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(It should be noted that photography, and all other kinds of primarily conceptual art, does not interest me. )<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrlWgO-kRTW5fXVbyJLnrv_lGm6mTE5yZNWGZ6wxsEDJWeeOTXCMN_SQx6IQK6Fm9o0scelSgOwnYz28oRmUun4SxPWu7Mk555gUto26pPZAeB3vSvHeIE-EkQZnJz8Lf8glup/s1600/v-jonathan+rogers+self2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="636" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrlWgO-kRTW5fXVbyJLnrv_lGm6mTE5yZNWGZ6wxsEDJWeeOTXCMN_SQx6IQK6Fm9o0scelSgOwnYz28oRmUun4SxPWu7Mk555gUto26pPZAeB3vSvHeIE-EkQZnJz8Lf8glup/s320/v-jonathan+rogers+self2.jpg" width="254" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6x2sPfwk7vsSnJSFQ9mhMlyHGy2HIoVafORuufg8kkqHKmpGTkeyZRxMmYA5DHLek9vZqzTU2XxJAPd9YpicdStDU49QZ1VacYImLgWC_LSYnCZQirk9P0PAqrOWGofjdeRDE/s1600/v-jonathan+rogers+self.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="800" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6x2sPfwk7vsSnJSFQ9mhMlyHGy2HIoVafORuufg8kkqHKmpGTkeyZRxMmYA5DHLek9vZqzTU2XxJAPd9YpicdStDU49QZ1VacYImLgWC_LSYnCZQirk9P0PAqrOWGofjdeRDE/s320/v-jonathan+rogers+self.jpg" width="320" /></a></div>
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Jonathan Rogers, self portrait, 2001</div>
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During our visit, the museum featured a large solo exhibition by Niagara artist, Jonathan Rogers.<br />
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I love this self portrait of the gap-toothed artist as a happy, active, man-of-the-brush.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXDvmmOFDkihXFscUtznD5ovJs3RgVpZLT1iZN5iXP4wn2wMUm0jAFiQPGdM4Y1Qi-2DsPvvss9UoZ5xKansQDRt4-gCVR5dFMXfRi-fQk0KoA7gbtm-AJipw4mWBJg6ePkRwq/s1600/v-jonathan+rogers+1998.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="662" data-original-width="800" height="264" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXDvmmOFDkihXFscUtznD5ovJs3RgVpZLT1iZN5iXP4wn2wMUm0jAFiQPGdM4Y1Qi-2DsPvvss9UoZ5xKansQDRt4-gCVR5dFMXfRi-fQk0KoA7gbtm-AJipw4mWBJg6ePkRwq/s320/v-jonathan+rogers+1998.jpg" width="320" /></a></div>
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I'm less satisfied with his cartoonish expressions of self contempt.</div>
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The craft and manic energy of cartoons has a special place in Chicago art -- but due, perhaps, to the city's tradition of political activism, the anger is usually directed outward rather than inward.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh64vmuMSBbb46364Nz79PF4ZE0JzqxfbZYEYLkZg6vMsB6qAswIIBTyV6KOaBrn4NzpZ143WvizvQO7YAAqVurlQNCIumR1EJg91gsuMs9Ho5tj7lc4AmgVGte47DmrTtsEc2c/s1600/v-jonathan+rogers+2001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="661" data-original-width="800" height="264" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh64vmuMSBbb46364Nz79PF4ZE0JzqxfbZYEYLkZg6vMsB6qAswIIBTyV6KOaBrn4NzpZ143WvizvQO7YAAqVurlQNCIumR1EJg91gsuMs9Ho5tj7lc4AmgVGte47DmrTtsEc2c/s320/v-jonathan+rogers+2001.jpg" width="320" /></a></div>
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The pictorial space -- as well as the small people on the sofa above--does, however, remind me of the Chicago Surrealist, Seymour Rosofsky (right)<br />
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Our visit also coincided with a large survey of local artists -- just like the annual "Chicago and Vicinity Show" that the Art Institute mounted until the mid 1980's - after which leadership presumably felt that their museum was too important to be concerned with local art.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXceWCPUlHjhJ8hw95OwlxkrP6YlBUTnFFL6oZopI1LlvJ-JVLJkz9DOn1GnOT0pKoJHcE-LMt9NfWEAKeFjycVFWn32H0osIQry1B2tMr56lwkdGqJmgjl-AopTrAwlbzO6fp/s1600/v-thomas+kegler+delaware+b1970.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="546" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXceWCPUlHjhJ8hw95OwlxkrP6YlBUTnFFL6oZopI1LlvJ-JVLJkz9DOn1GnOT0pKoJHcE-LMt9NfWEAKeFjycVFWn32H0osIQry1B2tMr56lwkdGqJmgjl-AopTrAwlbzO6fp/s320/v-thomas+kegler+delaware+b1970.jpg" width="218" /></a></div>
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Thomas Kegler, September Afternoon, Delaware Park (Buffalo), 2009</div>
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19th C. Romantic landscape painting is still practiced, and sometimes quite well, but no Chicago museum or gallery will hang it unless it was made back in the day.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjooWAvOe7f8TAhJGpHlZYF51Z3-Y907TUaCJdsxSDQIEQfkBqJaZzTqX3DyOTQDBhq_Kn500ftqFkufxVi1VRTloJxsepTdgthdIloBwWGRNhf0iO78DcIUgWMcGHNqONinP5Q/s1600/zzzz-powers.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="155" data-original-width="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjooWAvOe7f8TAhJGpHlZYF51Z3-Y907TUaCJdsxSDQIEQfkBqJaZzTqX3DyOTQDBhq_Kn500ftqFkufxVi1VRTloJxsepTdgthdIloBwWGRNhf0iO78DcIUgWMcGHNqONinP5Q/s1600/zzzz-powers.jpg" /></a>
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Here is similar work by Chicago artist,
Scott Powers, who eventually moved out west to find a better market for his work.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2X61aLjSvHoXYnHn7t2FCyYEDgyhxlbNoLdV2x1FPx4oCUNX3Zp6egodULpHcMe5efvWE9JPpQrWW92dSewxT9dvlzmFRrFmXPDFH8eoVfisG56cy7nON97qMrNT2bf8mJtoN/s1600/v-ellen+steinfeld+spring2012.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="553" data-original-width="800" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2X61aLjSvHoXYnHn7t2FCyYEDgyhxlbNoLdV2x1FPx4oCUNX3Zp6egodULpHcMe5efvWE9JPpQrWW92dSewxT9dvlzmFRrFmXPDFH8eoVfisG56cy7nON97qMrNT2bf8mJtoN/s320/v-ellen+steinfeld+spring2012.jpg" width="320" /></a></div>
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Ellen Steinfeld (b. 1945) , Spring, 2012</div>
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I'm sorry I missed her 2013 solo exhibit here at the museum. She works in metal and stained glass, as well as the watercolor shown above. Clear - sharp - dynamic - aggressive --- of all the artists now on display here, she feels closest to the legacy of Charles Burchfield. She loves nature -- but knows that nature is not your friend.</div>
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Visually overwhelming though marginal to the conceptual concerns of contemporary academia,<br />
the most likely place to find this kind of work in Chicago would be the Elmhurst Art Museum.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqkDlt-LZynSO3WJDmIG09PJZmgpcQ_yjxlGQt77Vl0h4P9b6I9YTSubRtyPAmj1Ou-_ZBKgRpmveIRyUX4sZNH-dOkNVF8k7M7foEWQl7OYozapiMIQLuJuxAgqBSZ7c8rAN0/s1600/v-gary++kyte+shadow+road.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="772" data-original-width="605" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqkDlt-LZynSO3WJDmIG09PJZmgpcQ_yjxlGQt77Vl0h4P9b6I9YTSubRtyPAmj1Ou-_ZBKgRpmveIRyUX4sZNH-dOkNVF8k7M7foEWQl7OYozapiMIQLuJuxAgqBSZ7c8rAN0/s320/v-gary++kyte+shadow+road.jpg" width="250" /></a></div>
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Gary Kyte, Shadow Road</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp14MQEJ-y4FU6iqPta1rm9LedSCpvQc_Gc6gJJf1-C7CNrVHQ71oH8eazOAcHdBxVkSSqAAzbsaTXR8xJN9D8MQ9Z41tmb_I2KauaFIMq3ouWFNQt-DkMYWAtgjSFycRcWGOk/s1600/zzzzandyfletcher.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="125" data-original-width="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp14MQEJ-y4FU6iqPta1rm9LedSCpvQc_Gc6gJJf1-C7CNrVHQ71oH8eazOAcHdBxVkSSqAAzbsaTXR8xJN9D8MQ9Z41tmb_I2KauaFIMq3ouWFNQt-DkMYWAtgjSFycRcWGOk/s1600/zzzzandyfletcher.JPG" /></a></div>
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The legacy of Edward Hopper lives on in the lonely buildings painted by the above local artist -- as well as in the work of the Wisconsin artist, Andy Fletcher, that I saw in Milwaukee last April.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMbxkJHaG8Oanf_18G_j8SQh3-8PCc2Ow1Z0Kw0cer0dhaV9EpjVvTs1j0VI-JTRziTXpjcVR9wUlZFTPfP4bzDID2th-f7zUdoouHVRtnxtx9H7u_MFpGL3dcghccrDvWgUIs/s1600/v-barbara+insalaco+1987.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="837" data-original-width="800" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMbxkJHaG8Oanf_18G_j8SQh3-8PCc2Ow1Z0Kw0cer0dhaV9EpjVvTs1j0VI-JTRziTXpjcVR9wUlZFTPfP4bzDID2th-f7zUdoouHVRtnxtx9H7u_MFpGL3dcghccrDvWgUIs/s320/v-barbara+insalaco+1987.jpg" width="305" /></a></div>
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Barbara Insalaco (b. 1946) , Colonnade Garden, 1987</div>
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A rather straightforward view of the good life. Wouldn't you like to afford such an estate?<br />
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It's not a dream that I share -- but it does feel good to run the eye through this tan, blue and green pictorial space.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIlFLI0hpkuARzs0wRhJxp0MDOugSY3xqFfBVLxA5ydF6haHk_kxt1p5IIWvnx4dWyYLopLzmEUibxDvjhUfkmWanMVFe0vA4uKQytlDi2qGA3ZZnditV5vXKjvO6EyBfw5bUo/s1600/zzzz-mertz.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="152" data-original-width="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIlFLI0hpkuARzs0wRhJxp0MDOugSY3xqFfBVLxA5ydF6haHk_kxt1p5IIWvnx4dWyYLopLzmEUibxDvjhUfkmWanMVFe0vA4uKQytlDi2qGA3ZZnditV5vXKjvO6EyBfw5bUo/s1600/zzzz-mertz.jpg" /></a></div>
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It reminds me of a Chicago painter, Nancie King Mertz who appears to serve the same market.<br />
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Monica Angle (b. 1962), River Crossing V, 2012</div>
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More suggestive than descriptive, this artist shows in Minneapolis as well as Buffalo -- and would not seem out of place in any other American city.<br />
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I like vaporous -- but I also want it to deliver a little more punch.<br />
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Virginia Cuthbert (1908 - 2001), The Quiet Street, 1952</div>
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An even more explicit homage to Edward Hopper - this artist also did more bright, colorful, and somewhat goofy paintings that might be called 'magical realism'.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR7AV7QtxjeFLa0oV9r-GWXq_kuoyBO5NrgvqdEwXSvpErsSjqcVmMHEjvFxFBFCNRGG-rCXr_LdzbHiv9Mq_C2bl7uiUZABR_Q8MgAOONbJdz_ADV9WmU3pJp1fBQ-hnCioaT/s1600/v-bruce+barber.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="651" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR7AV7QtxjeFLa0oV9r-GWXq_kuoyBO5NrgvqdEwXSvpErsSjqcVmMHEjvFxFBFCNRGG-rCXr_LdzbHiv9Mq_C2bl7uiUZABR_Q8MgAOONbJdz_ADV9WmU3pJp1fBQ-hnCioaT/s320/v-bruce+barber.jpg" width="260" /></a></div>
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Bruce Barber (b. 1925) , Biak Sunset with Tree, 1945</div>
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This is a very nice expressionist landscape done by a nineteen year old serviceman in the South Pacific. Biak island was a major battleground where 10,000 Japanese men fought to the death.<br />
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Nothing else by this artist can be found on the internet. Apparently most of his subsequent life was spent as a businessman.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7eTrfx-pNxswE_03d-P2GXstK741pl_yn8S0DZC-8Z28IqPrQP9NwQaqTSA_SfiCa9wuk3kYPJXtEcIYdCttO5gXHg_xpF7LThzqKblvvUJhttbG6Cn5lnLTTyrCqxEWjx4tK/s1600/v-trevor+richie.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="788" data-original-width="800" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7eTrfx-pNxswE_03d-P2GXstK741pl_yn8S0DZC-8Z28IqPrQP9NwQaqTSA_SfiCa9wuk3kYPJXtEcIYdCttO5gXHg_xpF7LThzqKblvvUJhttbG6Cn5lnLTTyrCqxEWjx4tK/s320/v-trevor+richie.jpg" width="320" /></a></div>
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Trevor Ritchie (b. 1979) ,Larva Vessel</div>
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This cockroach coffee table is as elegant as it is creepy. Another salute to Charles Burchfield?</div>
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It's fun to have in an art museum --- but I can't imagine anyone putting it in their home - unless,perhaps they work as an exterminator.</div>
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Note -- the shadow is creepy too.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggvat6KSbmy12dnny6VXu0U58Y015Sg0FVyNvciMeQu2iOkKRFGhRBgP2AIHAU056QZZQMeMpeUlqI5jZdiNt7rAA0ET2uMNCT5z1XdiaapZHB-ogtgAoO_mM79opK7i1O4u8u/s1600/v-peter+stephens.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="778" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggvat6KSbmy12dnny6VXu0U58Y015Sg0FVyNvciMeQu2iOkKRFGhRBgP2AIHAU056QZZQMeMpeUlqI5jZdiNt7rAA0ET2uMNCT5z1XdiaapZHB-ogtgAoO_mM79opK7i1O4u8u/s320/v-peter+stephens.jpg" width="311" /></a></div>
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Peter Stephens (b. 1958), Atom Crush, 2015</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvuTfvtH-XcDcnEedO3i4DKJ8lZMVe6DXylZBC_YB4TAhtxY-77RQBLIm1D7gRGftemYH5-x28V3ptBeEyzPE-NOTQl2sBswjQ2V7KSE41xrDcgrrzwShKQlXHg33-sRI7HH3M/s1600/v-peter+stephens2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="388" data-original-width="418" height="297" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvuTfvtH-XcDcnEedO3i4DKJ8lZMVe6DXylZBC_YB4TAhtxY-77RQBLIm1D7gRGftemYH5-x28V3ptBeEyzPE-NOTQl2sBswjQ2V7KSE41xrDcgrrzwShKQlXHg33-sRI7HH3M/s320/v-peter+stephens2.jpg" width="320" /></a></div>
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I enjoy this kaleidoscopic mind boggler - like an amusement park ride for the eyes. The artist, however, showed entirely different work this year at Zolla Lieberman in Chicago -- and it did not interest me.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7E60fPFkdTTWg0CgUdd_B7eoBO5F3uuw4ZqbKfzLTeYQvXXhppIvYRYkBWAK_CtQWQuMhu2W6huXtFhe13UCm_wLkwGJ7P0U5_kld24Is74KPSyvi6kCMqiPLwOq8VLZP0gM6/s1600/v-william+y+cooper.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="609" data-original-width="800" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7E60fPFkdTTWg0CgUdd_B7eoBO5F3uuw4ZqbKfzLTeYQvXXhppIvYRYkBWAK_CtQWQuMhu2W6huXtFhe13UCm_wLkwGJ7P0U5_kld24Is74KPSyvi6kCMqiPLwOq8VLZP0gM6/s320/v-william+y+cooper.jpg" width="320" /></a></div>
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William Y. Cooper (1934-2016), Naming Ceremony, Ghana, 1964</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiliEj5ufUjx8JT3gk8eEYEmvSwCmgTeg6B3ArvbiRK0lul5ozDHfq_oYMiaxwWfeR1fRoUKnGknb-SfuqU3hQIFj5mFLjf81HUS7e7zq7ltIHLWGPBWp3Y1XwidiFc1PWZnjGH/s1600/zzzz-africobra.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="200" data-original-width="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiliEj5ufUjx8JT3gk8eEYEmvSwCmgTeg6B3ArvbiRK0lul5ozDHfq_oYMiaxwWfeR1fRoUKnGknb-SfuqU3hQIFj5mFLjf81HUS7e7zq7ltIHLWGPBWp3Y1XwidiFc1PWZnjGH/s1600/zzzz-africobra.jpg" /></a></div>
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The above Afrocentric work appeared just as the Africobra collective was emerging in Chicago.<br />
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Cooper's piece seems more celebratory and folkloric -- while the Africobra artists seem more politically engaged as well as psychedelic.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTHH9TcpJlZbZ-FZBa_AQvbFNone6n6oUF3NjOFj4MRyU-kNV3yxUK4CJvvMI4yEZHtuGQqYWnN9kRsIxA4eZ-yuckWvVyYSHZaYPmQfdWBy3MZs1W2x_LCHUhFoDb0vUnGHeW/s1600/v-regan1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="584" data-original-width="800" height="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTHH9TcpJlZbZ-FZBa_AQvbFNone6n6oUF3NjOFj4MRyU-kNV3yxUK4CJvvMI4yEZHtuGQqYWnN9kRsIxA4eZ-yuckWvVyYSHZaYPmQfdWBy3MZs1W2x_LCHUhFoDb0vUnGHeW/s320/v-regan1.jpg" width="320" /></a></div>
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Jennifer Regan (1934-2016)</div>
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Even upper class women can be celebrated as outsider artists.</div>
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Jennifer Regan, the wife of a Buffalo Republican politician who served as New York State Comptroller for 15 years, took up narrative quilting to express her resentment of the patriarchy after her divorce in 1988.</div>
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And it turned out she was very good at it.</div>
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A special exhibit of her work was just about to open.</div>
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(we only got to see a few pieces in an adjoining hallway)</div>
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She was wonderfully talented.</div>
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Even if hung in the collection of the Doge's Palace,</div>
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this lively piece would have caught my eye.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqiaTcTOKTKXuOS-idfbSg3nDHFMXKWzfy5jYtRVdllO3dxKBfZMKhMqGneco_L4MygEqquBjyQDRAd15HxkXQm6o7QaWfxzVrAI8LnM_WheDaV2qqnVAiQf21LJtza8HtjAhr/s1600/zzzz-bellini.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="281" data-original-width="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqiaTcTOKTKXuOS-idfbSg3nDHFMXKWzfy5jYtRVdllO3dxKBfZMKhMqGneco_L4MygEqquBjyQDRAd15HxkXQm6o7QaWfxzVrAI8LnM_WheDaV2qqnVAiQf21LJtza8HtjAhr/s1600/zzzz-bellini.jpg" /></a></div>
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Though imitating paint with fabric<br />
is not quite as impressive<br />
as imitating fabric with paint.<br />
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(right - detail of Giovanni Bellini's<br />
portrait of Doge Loredan)<br />
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<span style="color: red;"> “The point is to subvert, turn upside down, reject labels, break all rules as a triumph over a long life living according to rules imposed from the outside"</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPwWa2SLePqzO8bzDWVXdRBlJ2ONLAMZtDNr8TnV2ivwcBczI3McanZVj_Yf_ewZxW2q_iFiEu2D9hurBC714naa9IqGZeSu4zaT5Q9vUFdCIX-25xzKBLCY4Q1MbUG14k_Gt0/s1600/zzzz-europa.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="713" data-original-width="740" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPwWa2SLePqzO8bzDWVXdRBlJ2ONLAMZtDNr8TnV2ivwcBczI3McanZVj_Yf_ewZxW2q_iFiEu2D9hurBC714naa9IqGZeSu4zaT5Q9vUFdCIX-25xzKBLCY4Q1MbUG14k_Gt0/s320/zzzz-europa.jpg" width="320" /></a></div>
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Jennifer Regan's quilted version is fun and pleasant -- but hardly as thrilling as the original "Rape of Europa" (at least, to my masculine eyes)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqBqbT_0LdFle5BkO4RFlBv8adtOQAxrAU-4NzE_hXSfU99fgWMXMmYtXmWkLUIybq_9xIgDj1fLlXG9wrdCurUp8QqZFfKO9wsm3mcjEIeZ0qG9LVTwox8Fs-0ynZDTLeM9W4/s1600/v-harvey+breverman.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="639" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqBqbT_0LdFle5BkO4RFlBv8adtOQAxrAU-4NzE_hXSfU99fgWMXMmYtXmWkLUIybq_9xIgDj1fLlXG9wrdCurUp8QqZFfKO9wsm3mcjEIeZ0qG9LVTwox8Fs-0ynZDTLeM9W4/s320/v-harvey+breverman.jpg" width="255" /></a></div>
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Harvey Breverman (b. 1934), self portrait 1967 (charcoal)</div>
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It was quite bold to pursue a career as a figurative print-maker and painter in the face of post-war abstraction.<br />
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So why did the aritst depict himself as a comic, mincing, shriveled old man at the age of 33?<br />
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As with political cartoons, formal power has taken a back seat to delivering some kind of punch line.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_CEjeI2iP9m0eo_88dKpacP6zeivY8C79cZ6mswFcLmo5zXi-rS8qWm3Zo4wv5EeDK-hDUY0L4BnQ3qOZr-V1pCObz4x_ipJ3YngIONJ2Rpws9sCE5ImX9JYQ9q-ralBaHre5/s1600/v-joseph+orffeo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="605" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_CEjeI2iP9m0eo_88dKpacP6zeivY8C79cZ6mswFcLmo5zXi-rS8qWm3Zo4wv5EeDK-hDUY0L4BnQ3qOZr-V1pCObz4x_ipJ3YngIONJ2Rpws9sCE5ImX9JYQ9q-ralBaHre5/s320/v-joseph+orffeo.jpg" width="242" /></a></div>
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Joseph Orffeo (1926-2013), Iraq , 2003</div>
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Not much different from how I think about this misbegotten international crime. </div>
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A pointless crusade that only resulted in cemetery crosses.</div>
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Also not much different from how I recall the vibrancy of urban Buffalo as</div>
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"The City of No Illusions"</div>
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Many of the artists I've noted above had careers in education. Orffeo was a serious artist - but he earned his living as the proprietor of a small barber shop.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY0Gm0RQICfpqlGNm4OVivXBenrMshM7lNVpuYe0EOl3Ht8nfCs5lUX4KSLtmxdpmQWmjkCAr2EMk_6NAEIS_ppDtP5FYGnfUAb-UGBP7KUvVT1cRG4SieyyFfS5oxLBPHPhRM/s1600/v-lin+xia+jiang.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="667" data-original-width="800" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY0Gm0RQICfpqlGNm4OVivXBenrMshM7lNVpuYe0EOl3Ht8nfCs5lUX4KSLtmxdpmQWmjkCAr2EMk_6NAEIS_ppDtP5FYGnfUAb-UGBP7KUvVT1cRG4SieyyFfS5oxLBPHPhRM/s320/v-lin+xia+jiang.jpg" width="320" /></a></div>
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Lin Xia Jiang</div>
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Lin Xia Jiang, currently the Professor of Painting at Buffalo State University (located immediately behind the Burchfield-Penny) is in that generation of Chinese artists and intellectuals who grew up during the Cultural Revolution - and spent their teenage years "learning from the peasants" in the countryside. After Mao died, and universities were allowed to re-open, Jiang would have been one of the millions who competed for admission.<br />
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So we can assume that he is a very smart man. He acknowledges, however, that he did not qualify to enter art school. Instead he studied philosophy -- and only entered art school after he had moved to the United States.<br />
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(BTW - I know
<a href="https://thisoldpalette.blogspot.com/2017/06/visiting-bo-zhangs-studio.html">one of the lucky few</a> who did get admitted to central, Beijing art school -- and he's also a brilliant man. He came to Chicago - immediately began decorating restaurants - became a general contractor - built and sold his own buildings - and now devotes all his time to painting)<br />
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Despite that American art education, his work is 100% twentieth century Chinese -- which is to say it is Russian Impressionism: thick paint, raw color, earthy, somewhat materialistic.<br />
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Several such artists
<a href="https://newcityart.blogspot.com/2011/04/east-west-at-murphy-hill.html"> showed in Chicago </a> about eight years ago.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtoBsak8D9mnnLOZiZn24Oh_P83S4Tk2zQeUsS-CB_20xD5VYy0-0tc532qOzBQ74tDQv9HFY54xbpLvkt1Cv5cg38pWfLVkpBGWtLzHXwsL3jg8pctti2OJcDFrr2zS3wZL3r/s1600/zzzz-zhi+wei+tu.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="200" data-original-width="135" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtoBsak8D9mnnLOZiZn24Oh_P83S4Tk2zQeUsS-CB_20xD5VYy0-0tc532qOzBQ74tDQv9HFY54xbpLvkt1Cv5cg38pWfLVkpBGWtLzHXwsL3jg8pctti2OJcDFrr2zS3wZL3r/s1600/zzzz-zhi+wei+tu.jpg" /></a></div>
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A few of them live here - though it must be noted that their work sells much better in China than it does in Chicago. (right: Zhi Wei Tu)
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY4qSZ7GaiDSzZOABjACWWT0WyKvoPwHMHQETCLeoNMTrhv796nwvuzIFrwgKRIDflD2rJrPtfAQKBIAi_8vUgcn7RyYKvYiSzsJaKiJ6jyZh32U1FNL3r172AMZG19BT4Nbgp/s1600/zzzz-grabner.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="200" data-original-width="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY4qSZ7GaiDSzZOABjACWWT0WyKvoPwHMHQETCLeoNMTrhv796nwvuzIFrwgKRIDflD2rJrPtfAQKBIAi_8vUgcn7RyYKvYiSzsJaKiJ6jyZh32U1FNL3r172AMZG19BT4Nbgp/s1600/zzzz-grabner.jpg" /></a></div>
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Professor Jiang's kind of painting contrasts dramatically with that of Michelle Grabner, the chair of the painting department at the School of the Art Institute of Chicago.<br />
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Which art school is more progressive?<br />
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Minimalism and conceptual art date back a hundred years -<br />
while Konstantin Maksimov introduced Russian Impressionism to Mao's China in 1954.<br />
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We are moving now to the second floor of the Burchfield-Penney, and its collection of local art from the earlier decades of the twentieth century.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6ZuFQzLOAwB6-h_qz4vbrdAsw-yhCGjWVVwG2jAuVpFbcynNXjNm5jft3Dpz3gaMISa2zopaubqJeljPe7q52WlrYMnEiSr_xq8pnV9rFqxVWJEmD6X1MPz1kldrvldbpHRmo/s1600/v-charles+rumsey2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="350" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6ZuFQzLOAwB6-h_qz4vbrdAsw-yhCGjWVVwG2jAuVpFbcynNXjNm5jft3Dpz3gaMISa2zopaubqJeljPe7q52WlrYMnEiSr_xq8pnV9rFqxVWJEmD6X1MPz1kldrvldbpHRmo/s320/v-charles+rumsey2.jpg" width="140" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMUrZB0PjPzrnJo5Gc4K55RmBQbkK97kSdT1wvrPtJl1NyRztQ3ybxjhQ12lDHsIYLbGTckyQiFm2-1UsVbShwuwgef8DwaWXbij1ZOEOdBJU4pOB7Y-RfVtTN09phXH5MeMI-/s1600/v-charles+rumsey.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="390" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMUrZB0PjPzrnJo5Gc4K55RmBQbkK97kSdT1wvrPtJl1NyRztQ3ybxjhQ12lDHsIYLbGTckyQiFm2-1UsVbShwuwgef8DwaWXbij1ZOEOdBJU4pOB7Y-RfVtTN09phXH5MeMI-/s320/v-charles+rumsey.jpg" width="156" /></a></div>
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Charles Cary Rumsey(1879-1922), Stargazer </div>
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(or possibly David facing Goliath)</div>
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I would not call this great sculpture -- but it could have been, A formal grammar of figurative sculpture is all there. - combining naturalism with design.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIh69y7T8cU_X0s-rCaKdDn35kMHqJ_ukJt7Swcnk6xntyLyyNSg-hjh2gyqkFvaVT7v5V92b42ktG5_wphO3ofL08qjcy22eKC3ZeZA1FO9XH97Vp_R0WGkigI2pUuMPM_21S/s1600/v-charles+rumsey3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIh69y7T8cU_X0s-rCaKdDn35kMHqJ_ukJt7Swcnk6xntyLyyNSg-hjh2gyqkFvaVT7v5V92b42ktG5_wphO3ofL08qjcy22eKC3ZeZA1FO9XH97Vp_R0WGkigI2pUuMPM_21S/s320/v-charles+rumsey3.jpg" width="240" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisIDU-d40F81dw3Rb1VzsJvGdpaDzS2U535tjWbnpPJnpb8Qv9bErfrb0XcuZDtC68GSJpWnLz0_Zdc87UvR_RkIbFSA4eF6NIzz1EBxDnjpsq2Yz-NPuVvzymtTfOEmIUNBXx/s1600/v-charles+rumsey4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="694" data-original-width="800" height="277" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisIDU-d40F81dw3Rb1VzsJvGdpaDzS2U535tjWbnpPJnpb8Qv9bErfrb0XcuZDtC68GSJpWnLz0_Zdc87UvR_RkIbFSA4eF6NIzz1EBxDnjpsq2Yz-NPuVvzymtTfOEmIUNBXx/s320/v-charles+rumsey4.jpg" width="320" /></a></div>
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<div style="text-align: center;">
Charles Cary Rumsey</div>
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Some wonderfully dynamic details - though, as a whole, this complex tableaux ends up<br />
feeling small and disappointing to me.</div>
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Smart, rich, brave, ambitious, talented, well educated --the artist had everything but longevity.</div>
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Rumsey died in an auto accident at the age of 43.</div>
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Some of his smaller bronzes of horses and nudes, found online, look much better.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5gyxQrXJpIuBQ739ZrysEpzaRKtxPVHUDs_UV9B_OmpJk1qS57ElBnv4pszqPd6EnjT5yofDD8eknMTgFxQ7LRza-Yx4ylpx_btfc5kuL4pvoxeD1nCkEY1SaZ5E1ZQnb6yhJ/s1600/v-charles+rumsey5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="508" data-original-width="800" height="203" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5gyxQrXJpIuBQ739ZrysEpzaRKtxPVHUDs_UV9B_OmpJk1qS57ElBnv4pszqPd6EnjT5yofDD8eknMTgFxQ7LRza-Yx4ylpx_btfc5kuL4pvoxeD1nCkEY1SaZ5E1ZQnb6yhJ/s320/v-charles+rumsey5.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYWr6Ze1cHQSGaXqGo1sfLm-lWueREtnaXavSLZyKProH9YFQ3-w79f9Va14amQ2NEL4BEpTwR-g1kgHTtH_MuODjWwnuDEzpHLMjyFiSxsBF8KV_jfuqs8bSg2lqT8Qu7aUq7/s1600/v-charles+rumsey5b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="494" data-original-width="800" height="197" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYWr6Ze1cHQSGaXqGo1sfLm-lWueREtnaXavSLZyKProH9YFQ3-w79f9Va14amQ2NEL4BEpTwR-g1kgHTtH_MuODjWwnuDEzpHLMjyFiSxsBF8KV_jfuqs8bSg2lqT8Qu7aUq7/s320/v-charles+rumsey5b.jpg" width="320" /></a></div>
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Here is one of his bas reliefs.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtze66z9QyOkcBkJJ_sE2Bds9gwkOEbJLB90k-Sw96BI58dYkLNSp_KnrWbfNJw0u0xM82dKdokp7cwm_mgMzw11E1WdnnDjsdry7IzLhCIj1oSV451dA2eTr4lnBySoynCbr6/s1600/zzzz-marquette.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="389" data-original-width="362" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtze66z9QyOkcBkJJ_sE2Bds9gwkOEbJLB90k-Sw96BI58dYkLNSp_KnrWbfNJw0u0xM82dKdokp7cwm_mgMzw11E1WdnnDjsdry7IzLhCIj1oSV451dA2eTr4lnBySoynCbr6/s320/zzzz-marquette.jpg" width="297" /></a></div>
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It's hard to tell what Rumsey accomplished here since the above relief was so poorly lit.<br />
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It does seem to compare well with the work of Hermon Atkins MacNeil (1866-1947) on the facade of the Marquette Building in Chicago.
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Claire Shuttleworth (1867-1930)</div>
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Niagara Industrial Horizon from Chippewa Shore (1913-18)</div>
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This well educated, well traveled, daughter of a local banker seems more of a gritty realist than a sentimental romantic. Her Buffalo home and studio was about a mile down Elmwood Ave. from where I once lived.<br />
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There is nothing saccharine, comforting, or even pleasant about this image. With all of its prominent triangles, it's almost a geoform abstract painting.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh867bz3yi-M-rkziuJ0jSnTLC7Ig8aYrt6RTa8QF_qgK0LqQNpDVpzcSyXglthtX-6G6XKnf-w9nbLkhlT_AYwujJ5MxwkAscs1jZ3mwaNkbjsCZKP9AWa6-cVnW-GBurWsgWg/s1600/v-anthony+j+sisti.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="540" data-original-width="366" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh867bz3yi-M-rkziuJ0jSnTLC7Ig8aYrt6RTa8QF_qgK0LqQNpDVpzcSyXglthtX-6G6XKnf-w9nbLkhlT_AYwujJ5MxwkAscs1jZ3mwaNkbjsCZKP9AWa6-cVnW-GBurWsgWg/s320/v-anthony+j+sisti.jpg" width="216" /></a></div>
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Anthony J Sisti (1901-1983), Last Load for Winter</div>
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Something of a local hero, Tony Sisti had a gallery in Allentown and organized the first Allentown art walk ( a monthly variation of which I wrote about earlier in this post)<br />
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This painting feels claustrophobic, grim, and depressing to me. It might have been a set for "On the Waterfront" with Marlon Brando.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFTSLQki_8vqzliiy4sOcsCr63AA74fwdGGmdN8kiD43LroQrSpwJ-WBtNjhJbDqzPHVkPQcL9GYc1o_T81ht_YF0VYg3uHWvR_u8Ug9OZgcCL1F2jnCghq1DjIUtPxEiVNa9d/s1600/v-anthony+j+sisti+assets.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="494" data-original-width="802" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFTSLQki_8vqzliiy4sOcsCr63AA74fwdGGmdN8kiD43LroQrSpwJ-WBtNjhJbDqzPHVkPQcL9GYc1o_T81ht_YF0VYg3uHWvR_u8Ug9OZgcCL1F2jnCghq1DjIUtPxEiVNa9d/s320/v-anthony+j+sisti+assets.jpg" width="320" /></a></div>
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Anthony Sisti, Frozen Assets, 1926</div>
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Here's another piece, made when the artist was 25.</div>
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(Buffalo often gets some very heavy snowfalls)<br />
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It's more cheerful - but it also seems to belong<br />
in a book made for children..</div>
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Some of his landscapes and cityscapes online promise to be much more thrilling.</div>
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Wilhelmina Godfrey (1914-1994) , City Playground, 1950</div>
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A strange, dystopian urban scene in which two black youth are fighting while two white youth are standing by - one of whom is apparently thinking of something else. <br />
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Ben Shahn was far more important to American art then than he is today -- and this painting echos his graphic style. Unlike Shahn, however, Godfrey does not seem to be delivering a left wing political message.<br />
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Looking online, this piece appears quite different from everything else that she did.<br />
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She is best known as a pioneer of African American art in Western New York.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE8h7Ld6E22DJSZ26Ka9lyScDSXzLH041_OWMa3wKTUk_9kNpVKAobHOSRqz9z6S2l7mzLKqucPCep7-H4vZzlMjAg3mO197VaskstBUvKxWnrkM3oY6ej9HN4rDo9h3kL5zzP/s1600/v-mildred+c+green.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="397" data-original-width="540" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE8h7Ld6E22DJSZ26Ka9lyScDSXzLH041_OWMa3wKTUk_9kNpVKAobHOSRqz9z6S2l7mzLKqucPCep7-H4vZzlMjAg3mO197VaskstBUvKxWnrkM3oY6ej9HN4rDo9h3kL5zzP/s320/v-mildred+c+green.jpg" width="320" /></a></div>
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Mildred C.Green (1874-1951), Tanker Train</div>
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Love the sense of mystery.</div>
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Green was another iconic Buffalo artist - one of the founders of the Patteran Society (1933-1980) that was devoted to bringing new art to western New York : "<span style="background-color: white; color: #464646; font-family: "arial" , "verdana" , sans-serif; font-size: 11px;"> </span><span style="background-color: white; color: #464646; font-family: "arial" , "verdana" , sans-serif; font-size: 11px;">"to foster free and independent thought and approach with individual rather than group excellence of the total</span><span style="background-color: white; color: #464646; font-family: "arial" , "verdana" , sans-serif; font-size: 11px;"> "</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnEYYyMPcqSr-6zgVgHs7eoOx8GcW5n4l2iY9vACEpja1H0GE9S2dgMuYosiAuRRDFmoMBkgbOvcGPWPnBXYFBSbsA_Y3g9kP5J_re3P5YcCudAW7mOeUqSMpO15JDCXbTby8f/s1600/burchfield+trees+1916.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="584" data-original-width="800" height="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnEYYyMPcqSr-6zgVgHs7eoOx8GcW5n4l2iY9vACEpja1H0GE9S2dgMuYosiAuRRDFmoMBkgbOvcGPWPnBXYFBSbsA_Y3g9kP5J_re3P5YcCudAW7mOeUqSMpO15JDCXbTby8f/s320/burchfield+trees+1916.jpg" width="320" /></a></div>
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Charles Burchfield, untitled, June 28, 1916</div>
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But Charles Burchfield (1893-1967) remains the most iconic Buffalo artist of all -- and rightfully so -- judging by watercolors like the above.<br />
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His early work done in Salem, Ohio, is my favorite. Apparently under the influence of Henry George Keller, his instructor at the Cleveland Institute, this piece is brimming with enthusiasm for both design and nature. (and I'd love to see a exhibit of Keller -- the Art Institute of Chicago has only one watercolor)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZQ9JNAtzVBiK9PIb3X-F8UjHESQFtJ6mcmleCv_esah_u4fQMQDNRn6cjVcvkQMstZbXLXOryz5BbH5lfOwHdVm2JbynIAFe8L2-WURkOoeAX6KrsgQbpxCrFR-ByFF9Lr4px/s1600/burchfield+bold1941.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="607" data-original-width="800" height="242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZQ9JNAtzVBiK9PIb3X-F8UjHESQFtJ6mcmleCv_esah_u4fQMQDNRn6cjVcvkQMstZbXLXOryz5BbH5lfOwHdVm2JbynIAFe8L2-WURkOoeAX6KrsgQbpxCrFR-ByFF9Lr4px/s320/burchfield+bold1941.jpg" width="320" /></a></div>
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Charles Burchfield, 1941<br />
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heading toward calligraphy.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2AVjeD7MHpBgXx-LdNd2b25Lrm2knLl7UFgm14fawNPiB548cSz249CtPhZ5kHPmKt93u3hcJEtlYJWmfZOrqxhOPz9XTIxATizAkIibMvHyr5NYeTEC2Uajo48xwYb3Omk3E/s1600/burchfield+sunlight+pouring1952.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="574" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2AVjeD7MHpBgXx-LdNd2b25Lrm2knLl7UFgm14fawNPiB548cSz249CtPhZ5kHPmKt93u3hcJEtlYJWmfZOrqxhOPz9XTIxATizAkIibMvHyr5NYeTEC2Uajo48xwYb3Omk3E/s320/burchfield+sunlight+pouring1952.jpg" width="229" /></a></div>
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Charles Burchfield, July Sunlight Pouring Down, 1952</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKNLDncIxpBDbV5FPd-ZiCm3Ys1AdmsJN-w5NVuGcBqTS3MZp0AFkzc1jkYDNoyPQTXFE8D_dFN6-LhaQgMP0xmoNaLDa1C2_sCG4vKES40X8ky4Y4ibFd_HkEaipwGUbhg1jC/s1600/burchfield+sunlight+pouring+label.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="765" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKNLDncIxpBDbV5FPd-ZiCm3Ys1AdmsJN-w5NVuGcBqTS3MZp0AFkzc1jkYDNoyPQTXFE8D_dFN6-LhaQgMP0xmoNaLDa1C2_sCG4vKES40X8ky4Y4ibFd_HkEaipwGUbhg1jC/s320/burchfield+sunlight+pouring+label.jpg" width="306" /></a></div>
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I'm less enthusiastic about his later, more spiritualized work -- but then, I don't care much for William Blake either. (so the fault is probably with me)<br />
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And finally --- here's a group shot of three tired senior citizens </div>
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at the end of a long day of art watching. </div>
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(Roger is behind the camera --so he is not shown)</div>
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<br />chris millerhttp://www.blogger.com/profile/09575033275184403015noreply@blogger.com0tag:blogger.com,1999:blog-19047760.post-51026145941863651802018-10-12T12:05:00.002-05:002018-10-13T08:45:49.321-05:00Dmitry Samarov at Dominican University<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie2PgbOSNVvltRwG5fjkeJWjHc69PAtc7ID10zIZKJKCMPlXkAV3NtnG0FcB3BpVSIWVcS9orPTLhP2Ah66_GYFZconC-YzWyQC3-sWzDZErRL-4kyZn4h55DzLxMgKVsvL3MF/s1600/zz-lewis3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie2PgbOSNVvltRwG5fjkeJWjHc69PAtc7ID10zIZKJKCMPlXkAV3NtnG0FcB3BpVSIWVcS9orPTLhP2Ah66_GYFZconC-YzWyQC3-sWzDZErRL-4kyZn4h55DzLxMgKVsvL3MF/s320/zz-lewis3.jpg" width="240" /></a></div>
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O'Connor Art Gallery appears to have been something of an afterthought on the campus of Dominican University in River Forest, Illinois.</div>
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Above is the stately, ivy-covered facade of historic Lewis Hall.</div>
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Here is the stone marker that lists the offices found there.<br />
If you were looking for an art gallery, you've be disappointed.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ7VEJhAz8IR-PL0JCyrR1wyMWT6dxcDpGEbnyID7ahbpwwyRslunYBbI4J-mM2lU8mf9Q_ayLGQzZ6gr1g9-IMKx459dSWRz2NuNhLWGP3xTffGZ0VsNR0XVwfLdLR0J5Uh6H/s1600/zz-lewis2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="646" data-original-width="800" height="258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ7VEJhAz8IR-PL0JCyrR1wyMWT6dxcDpGEbnyID7ahbpwwyRslunYBbI4J-mM2lU8mf9Q_ayLGQzZ6gr1g9-IMKx459dSWRz2NuNhLWGP3xTffGZ0VsNR0XVwfLdLR0J5Uh6H/s320/zz-lewis2.jpg" width="320" /></a></div>
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Unless.... you stood on top of the flower bed and looked down at the ground.<br />
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It took me a while to find this show. The student who was behind the information desk at the front door of Lewis Hall directed me to the third floor --- where nobody had any idea that art had ever been shown in the entire building.<br />
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If you start at the top and systematically walk down every hall, however, the art gallery can be found.<br />
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Good luck!</div>
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For visitors, this exhibit may be hard to find -- but for art students at Dominican University, it is remarkably convenient. It's right in the middle of the art school -- and for this show, especially---that's exactly where it should be.<br />
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Dmitry's work can be quite edifying.<br />
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First, because the painting and drawing exemplifies the European tradition -- not as a relic of the past, but as a disciplined, and thrilling, way to live in the present.<br />
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Second, because Dmitry himself exemplifies the perseverance, as well as the talent, required to master it. In case you haven't noticed, observational painting and drawing has been outside the mainstream of American art for about seventy years. It still thrives in the backwaters of sentimental Western (Cowboy) art, commercial illustration, and feel-good Impressionism -- but Dmitry doesn't go there either. His art manifests the hardscrabble and vibrant urban life that he lives.<br />
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Love these figure drawings!</div>
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The above pose of a hefty reclining model, for example, is not nearly as exciting as the drawing that Dmitry created with an inspired arrangement of tones and forms. It's like a monochrome painting - and it makes for a nice comparison with life drawings done by earlier artists in the same tradition.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigUNiv0LJC62kc59aijE1dMyh874ZzJZR_GZqYo184IDF2n7cAt3rSBostNGRjsnut30aa3rBShc8GYjexROCk9wc4pU4QdiIrUyU7g8ulcQ5TB1jFZ-lCUpfO2yTaskRpWHkD/s1600/rembrandt.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="660" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigUNiv0LJC62kc59aijE1dMyh874ZzJZR_GZqYo184IDF2n7cAt3rSBostNGRjsnut30aa3rBShc8GYjexROCk9wc4pU4QdiIrUyU7g8ulcQ5TB1jFZ-lCUpfO2yTaskRpWHkD/s320/rembrandt.jpg" width="264" /></a></div>
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Rembrandt</div>
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Dmitry's line is more heavy, Rembrandt's line is more delicate. They're both good.</div>
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Rembrandt</div>
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Rembrandt's drawing is more descriptive of actual flesh</div>
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- while Dmitry's drawing seems more responsive to the person in the room with him.</div>
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Dmitry's figures feel more Twentieth Century. </div>
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(even if they were drawn in the twenty-first)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIf-AGEWJ1S7stu1jAqBUINn0FL8BWnt-IwOnrMCC6UKGQVE1-v45D4BRAeamVdoRtddejU2-NGedbXabgP-giqyYSS9c4R8rDl0_BltnyEE6uxRPZZ8PPbBW0Q9_AWXZ5sryb/s1600/roualt.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="394" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIf-AGEWJ1S7stu1jAqBUINn0FL8BWnt-IwOnrMCC6UKGQVE1-v45D4BRAeamVdoRtddejU2-NGedbXabgP-giqyYSS9c4R8rDl0_BltnyEE6uxRPZZ8PPbBW0Q9_AWXZ5sryb/s320/roualt.jpg" width="210" /></a></div>
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Georges Roualt</div>
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Here's a Twentieth Century figure drawing that's more about an</div>
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expressive figure and less about the surrounding pictorial space.</div>
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John Sloan</div>
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Here's a Twentieth Century figure drawing where the body is about anatomical parts and the space behind is more like what was actually behind her.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvNBhYksRCey9Wpp6n1TSNkyA8CYpKv2t_3jvauUMWqozP6WcltbCJ893Z3fh7jFWZC_rctQXJ0k9RsIEgrSGpKWJYdA6uKL0zIhwXNgAdgv1SCSsP7iHmOAL6LTPep_hbSVsL/s1600/david+park.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="790" data-original-width="624" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvNBhYksRCey9Wpp6n1TSNkyA8CYpKv2t_3jvauUMWqozP6WcltbCJ893Z3fh7jFWZC_rctQXJ0k9RsIEgrSGpKWJYdA6uKL0zIhwXNgAdgv1SCSsP7iHmOAL6LTPep_hbSVsL/s320/david+park.jpg" width="252" /></a></div>
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David Park (1960)</div>
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This is more like the kind of figure drawing that Dmitry does.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0MYPOBIXVy732Jyv5Uv1E6jqfQx_30hMaMXvIqIF0jgZx3tcBWX53Mu3H14okC4uIckVobuEqZLx9ldj9_HZIJVQg1YCncUub98xCGh_vV6jyfO1YYCWvvoDjtNVTN5WWU3Fs/s1600/ds102.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="676" data-original-width="800" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0MYPOBIXVy732Jyv5Uv1E6jqfQx_30hMaMXvIqIF0jgZx3tcBWX53Mu3H14okC4uIckVobuEqZLx9ldj9_HZIJVQg1YCncUub98xCGh_vV6jyfO1YYCWvvoDjtNVTN5WWU3Fs/s320/ds102.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_RLVubrRozO6B3F6uddbN3Aa8ZuATU6jKMaPO_ichqN39FVDm-b4_LDmuHliAbU7ZbPTXb7ZUNewjTKP95TngJOcFND_7W__4iQs-c_Db_eIHuZ4OpEvLVbNacj712gC9AfKh/s1600/ds102c.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="618" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_RLVubrRozO6B3F6uddbN3Aa8ZuATU6jKMaPO_ichqN39FVDm-b4_LDmuHliAbU7ZbPTXb7ZUNewjTKP95TngJOcFND_7W__4iQs-c_Db_eIHuZ4OpEvLVbNacj712gC9AfKh/s320/ds102c.jpg" width="247" /></a></div>
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Dmitry has never taught drawing at any of the dozen or so university level art programs in the Chicago area.<br />
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I'd be surprised if anyone who does has ever made a life drawing as beautiful and compelling as this one.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpxUb6mhTlGJ8xxxoIjgSJMiiCUvSZ1Wx9ymDer9kbGd0RkL6s-IK1YdiOWQGevgjO_KGtc-RkM6fZiJx2QRfdcwGu_gD5-CRrNVfquAi8U4rN0LXMtfg3sMsb5eoFtZlHlLhR/s1600/ds102d.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="624" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpxUb6mhTlGJ8xxxoIjgSJMiiCUvSZ1Wx9ymDer9kbGd0RkL6s-IK1YdiOWQGevgjO_KGtc-RkM6fZiJx2QRfdcwGu_gD5-CRrNVfquAi8U4rN0LXMtfg3sMsb5eoFtZlHlLhR/s320/ds102d.jpg" width="249" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB9zJB8hGzeZr7tNFP6i9JFhIXbRI3L6jtrQq_ouYuZX6XwiaT4-tg9395iu2z45-UPVtMJAWqHhvOBpbVReUXV0HIlJoDRjaJiixU_jJBN22k80zjd4txLJQPGCZA29kuIrgw/s1600/ds103.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="598" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB9zJB8hGzeZr7tNFP6i9JFhIXbRI3L6jtrQq_ouYuZX6XwiaT4-tg9395iu2z45-UPVtMJAWqHhvOBpbVReUXV0HIlJoDRjaJiixU_jJBN22k80zjd4txLJQPGCZA29kuIrgw/s320/ds103.jpg" width="239" /></a></div>
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Dmitry's world seems cluttered and confused -- even though his drawing is not.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOUjs67DQzp4IRj9cdE57Hu8TKeDoafbdljqCwZ9rJvAki0Ch28Q1X9zzirnjYd482Tj0j6yYdYwBMIrKLPKZu1CK9zl2-iINmcNIW3yUmqD65BxeFXUHHQW2FMtXPiveaRvj2/s1600/ds103b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="608" data-original-width="628" height="309" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOUjs67DQzp4IRj9cdE57Hu8TKeDoafbdljqCwZ9rJvAki0Ch28Q1X9zzirnjYd482Tj0j6yYdYwBMIrKLPKZu1CK9zl2-iINmcNIW3yUmqD65BxeFXUHHQW2FMtXPiveaRvj2/s320/ds103b.jpg" width="320" /></a></div>
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It's complex - but not chaotic</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2HrZzOdtuQZWQF0v_14ihXh6l5HSc0kQqtqwmNAPZqc0DQtATfWcbEDH-52jpEFxKc4_dGuDVzWoNDvmVUlY_b_O33mT8cy0szsc-5hOIayqU8Q2-6zXKbe4DQwlkRVGj5RTh/s1600/ds104.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="588" data-original-width="800" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2HrZzOdtuQZWQF0v_14ihXh6l5HSc0kQqtqwmNAPZqc0DQtATfWcbEDH-52jpEFxKc4_dGuDVzWoNDvmVUlY_b_O33mT8cy0szsc-5hOIayqU8Q2-6zXKbe4DQwlkRVGj5RTh/s320/ds104.jpg" width="320" /></a></div>
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What a mess ! --- but still it's been beautifully organized.<br />
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Perhaps you could call this ABX realism.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU2YRcqE51ggMOZ_W6qi4XGfPxLmMpFxBob0p-q0T7rREF6ntpUAogdNSTziVid0DbXYVszEXUqd8Am7MH7UVPp8jfr3Icigd6LlgDItJAFitCtiXlYEHecg6NiDSXB419Amlf/s1600/ds105.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="637" data-original-width="800" height="254" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU2YRcqE51ggMOZ_W6qi4XGfPxLmMpFxBob0p-q0T7rREF6ntpUAogdNSTziVid0DbXYVszEXUqd8Am7MH7UVPp8jfr3Icigd6LlgDItJAFitCtiXlYEHecg6NiDSXB419Amlf/s320/ds105.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFmz3uWPdoAD1Lyau3Jwqt4VTj1SzhcXHdD5TDBs5_MqpAbXDtjAiXcSQ921mQTNOHmTIIp6kpgfa69e02gNtrND0nTipyO1XfPZ9IVz4v8oKW5ceeaTgKKmzL__LFpwvAIUOW/s1600/ds106.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="582" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFmz3uWPdoAD1Lyau3Jwqt4VTj1SzhcXHdD5TDBs5_MqpAbXDtjAiXcSQ921mQTNOHmTIIp6kpgfa69e02gNtrND0nTipyO1XfPZ9IVz4v8oKW5ceeaTgKKmzL__LFpwvAIUOW/s320/ds106.jpg" width="232" /></a></div>
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this looks like a lonely and impoverished life, but also an intense one.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi39Gvs6ttl63t62AgHHvdffclb44GvJsqmZaZOo8RiUyRnagN1nDYlYFKCB9MnIdCfOe0qT415mVlrxemNT5dylCnrdzGArTaUJYg0cIixZVcQIOGQmWc3yZ_SvoPgHKxszPrw/s1600/ds108.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="559" data-original-width="800" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi39Gvs6ttl63t62AgHHvdffclb44GvJsqmZaZOo8RiUyRnagN1nDYlYFKCB9MnIdCfOe0qT415mVlrxemNT5dylCnrdzGArTaUJYg0cIixZVcQIOGQmWc3yZ_SvoPgHKxszPrw/s320/ds108.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj0qfvcxYSiW46i-xKosya4ZqhO3PgJ8KkLmGfdZ_Or17tRdvpEcboRe2EfKPMIOQPtTwwBmisxs1tO2tIDE_pnyQZf88NPn4CH4ZJJnwVGA5uEm7BIJanaj6g2N4-UYY83K9l/s1600/ds107.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="789" data-original-width="800" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj0qfvcxYSiW46i-xKosya4ZqhO3PgJ8KkLmGfdZ_Or17tRdvpEcboRe2EfKPMIOQPtTwwBmisxs1tO2tIDE_pnyQZf88NPn4CH4ZJJnwVGA5uEm7BIJanaj6g2N4-UYY83K9l/s320/ds107.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCs04r2RavDM2jXo8zBuGtcTlRekL9xoVn0lgtnbecip4XwhAwg80C86C5VpK_tKmIA6McV_oe0xtm8TCa2Sl-4VlTrWzheHjVdc9CDqvTkvUAIeO5ppazqLaBty4RSO5On5M_/s1600/ds110.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="604" data-original-width="800" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCs04r2RavDM2jXo8zBuGtcTlRekL9xoVn0lgtnbecip4XwhAwg80C86C5VpK_tKmIA6McV_oe0xtm8TCa2Sl-4VlTrWzheHjVdc9CDqvTkvUAIeO5ppazqLaBty4RSO5On5M_/s320/ds110.jpg" width="320" /></a></div>
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This appears to be a study for the painting shown above it.</div>
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Seen together, they're a nice record of a composing mind at work - and an example of how a dumpy neighborhood can make for beautiful painting and drawing.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzwr-1wft2BAdqM-9A3C2dl-gF63Bsp4VWTOqYYS60GSQoa23W5nEYLc-jxzQvWSdAwOKohs4xfth3Tawqfzx8sY_kUnBC_6d-P12DI6z26kpCXUuiWyTTqSy-GEtDb0KZKktz/s1600/ds111.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="618" data-original-width="800" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzwr-1wft2BAdqM-9A3C2dl-gF63Bsp4VWTOqYYS60GSQoa23W5nEYLc-jxzQvWSdAwOKohs4xfth3Tawqfzx8sY_kUnBC_6d-P12DI6z26kpCXUuiWyTTqSy-GEtDb0KZKktz/s320/ds111.jpg" width="320" /></a></div>
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A delicious feeling for lights and darks</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2TPDtwVB9zJ_YR_OjpnUG80jmUSz7VnFydhBJ4GnNvOF91YYPWx5NqbSQ9vOpxwRGsxHEc5aJKqCkjkQJKKTe6sfYsEWU3kmm_Ceqx-TuMzyTNLM-E8mrH7w1W8NLe4Lb878o/s1600/ds112.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="755" data-original-width="800" height="302" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2TPDtwVB9zJ_YR_OjpnUG80jmUSz7VnFydhBJ4GnNvOF91YYPWx5NqbSQ9vOpxwRGsxHEc5aJKqCkjkQJKKTe6sfYsEWU3kmm_Ceqx-TuMzyTNLM-E8mrH7w1W8NLe4Lb878o/s320/ds112.jpg" width="320" /></a></div>
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Dmitry specializes in chaotic book shelves -</div>
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which probably means that he's continually poking through them.</div>
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Chicago -- the neighborhoods and the urban canyons.</div>
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After art school, the artist worked for many years as a cab driver. That's a pretty tough job -- and Uber has recently made it even tougher . But he used it as opportunity to sketch out his cab window as well as write stories about his passengers.<br />
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For me, the most exciting items in this exhibition were the small sketchbooks that artist carried with him -- especially when he went out to hear live music.<br />
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Looks like someone had a day in court.</div>
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Those two figures on the left page are wonderfully drawn onto it..</div>
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These sketches may be quick,<br />
but they're as carefully designed as a painting.</div>
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A very lively scene!</div>
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The artist currently works at a bar. Encouraging people to drink away their troubles may not be a noble profession -- but it is a good opportunity for people watching.<br />
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That sketch on the left reminds me of a Cezanne landscape.</div>
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As one who does a lot of quick sketch figure drawing -- </div>
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I can attest that
<a href="https://drawingbooks.blogspot.com/2018/06/2018-june.html">
only a few of mine </a>
turn out well.</div>
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So much has to be done in such a short period of time.</div>
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So many different kinds of things can go wrong.</div>
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Which makes these small sketchbooks so amazing.</div>
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Every page has turned out well</div>
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******</div>
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As Dada , Minimalism, and Conceptual Art are now more than a century old --- one might ask -- what kind of art is really cutting edge any more?<br />
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There is nothing new about Dmitry's kind of art either. It dates back to the 16th century.<br />
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It's the quality of his art that remains a rarity and a happy surprise.<br />
<br />chris millerhttp://www.blogger.com/profile/09575033275184403015noreply@blogger.com0tag:blogger.com,1999:blog-19047760.post-83493669925351662882018-10-08T09:24:00.001-05:002022-10-02T11:18:49.734-05:00Art Expo 2018<div class="separator" style="clear: both; text-align: center;">
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Naudline Pierre</div>
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I wasn't especially searching for depictions of people-of-color in my tour through Art Expo this year ------ but quite a few caught my eye.<br />
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Possibly they exemplify a transformative moment in American life finding its own painters - rather than the other way around.<br />
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What could be more colorful than the figures shown above? It feels like some kind of mystic vision of angels and demons.<br />
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Rael Jero Salley</div>
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This piece is much more down to earth.</div>
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Devan Shimoyama</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAQT6ekX9TcDyC7OfFwILagwznrZCX5tP8puti26ne4iJln2F8zmbDmfu-xkp0jYRYgrT7tho3Dj8E9PU3QkEL-dI9_wq92WUKJA1WHbca8kgYFm_tDtb3Z_Lw1iZLIjSHcvEG/s1600/devan+shimoyama2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="610" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAQT6ekX9TcDyC7OfFwILagwznrZCX5tP8puti26ne4iJln2F8zmbDmfu-xkp0jYRYgrT7tho3Dj8E9PU3QkEL-dI9_wq92WUKJA1WHbca8kgYFm_tDtb3Z_Lw1iZLIjSHcvEG/s320/devan+shimoyama2.jpg" width="244" /></a></div>
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Devan Shimoyama</div>
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But now we're back to a world that is strange and wonderful.</div>
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Is Adam the luminous snake handler shown above ?</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5f9zWVlihxwt9HG9PTxXpVbhJatCEN_2bTSnRjai4sEsNGXPtum9EBfzC11C1PwAbO6GYZ4AchzbemyMZM7B7tFcXYm8fXl_FDRry_zCactK-s9oVK39BSZBSJGxxr-U-4knm/s1600/marcus+jansen+bedroom+b1968.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="797" data-original-width="800" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5f9zWVlihxwt9HG9PTxXpVbhJatCEN_2bTSnRjai4sEsNGXPtum9EBfzC11C1PwAbO6GYZ4AchzbemyMZM7B7tFcXYm8fXl_FDRry_zCactK-s9oVK39BSZBSJGxxr-U-4knm/s320/marcus+jansen+bedroom+b1968.jpg" width="320" /></a></div>
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Marcus Jensen</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH60V3VQU3_MUcPNaeY3Xi1Hi4wEj9UphjcCE4VQ6Ipi1y39hk5mehHDFnpybzxHF4OF7qX6D3CFBqXLk5A5AQeXCq-UOCnftVlROORCHgSZf5-QgcudorBubge3Kuvf6d3D-4/s1600/marcus+jansen+bedroom2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="497" data-original-width="447" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH60V3VQU3_MUcPNaeY3Xi1Hi4wEj9UphjcCE4VQ6Ipi1y39hk5mehHDFnpybzxHF4OF7qX6D3CFBqXLk5A5AQeXCq-UOCnftVlROORCHgSZf5-QgcudorBubge3Kuvf6d3D-4/s320/marcus+jansen+bedroom2.jpg" width="287" /></a></div>
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Back to dumpy old reality again.</div>
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The racial identity of this figure is about as subtle as could be. </div>
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The artist calls himself an Urban Expressionist.</div>
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Barbara Earl Thomas</div>
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Racial identity is also ambivalent in this piece. The three figures are entirely white, though their features may not be..<br />
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The artist is an African Amercan from the Northwest who identifies Jacob Lawrence as a primary influence on her work.<br />
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Ajarb Bernard Ategwa </div>
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The energy of urban Africa - specifically Douala, Cameroon.</div>
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Aleah Chapin</div>
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On the other hand, one might note that 100% of the figures brought to Art Expo by Forum Gallery are white.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYBCm0mmI7KmOsA5FPRdhjJU7Cy_1i-9YBQznUtwUOnIOus-zLue5ASsPyWZ9inflXwXjonqT8FmErStxk-2tUzHVqdFuavPgRl7_wSmLqhmOif1PcNabTWFesH-8nM5EDgRJO/s1600/aleah+chapin+label.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="800" data-original-width="412" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYBCm0mmI7KmOsA5FPRdhjJU7Cy_1i-9YBQznUtwUOnIOus-zLue5ASsPyWZ9inflXwXjonqT8FmErStxk-2tUzHVqdFuavPgRl7_wSmLqhmOif1PcNabTWFesH-8nM5EDgRJO/s320/aleah+chapin+label.jpg" width="164" /></a></div>
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This year, Forum focused on portraits of artists - accompanied by informative signage.</div>
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It's the kind of show that really should travel around to small museums.</div>
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The work of this artist also came to Chicago</div>
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for the
<a href="https://art.newcity.com/2018/05/30/risking-rebuke-in-the-metoo-milieu-a-review-of-visions-of-venus-at-the-zhou-b-art-center/">Visions of Venus</a>
exhibit at the Zhao B Art Center last April.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNaibzgkUyEhI67cmCforCMn54fVHf9L30xk1znDDeZXhmG6Ukaxok0NKQ_wLeDj0Zm1eZ9QtvMmJiLU7bfJ4kLAt3byoUsUcnGP3dmlkI9-ioqxe1PMrr0VaN4JA2n1yAeUwV/s1600/bo+bartlett.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="529" data-original-width="800" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNaibzgkUyEhI67cmCforCMn54fVHf9L30xk1znDDeZXhmG6Ukaxok0NKQ_wLeDj0Zm1eZ9QtvMmJiLU7bfJ4kLAt3byoUsUcnGP3dmlkI9-ioqxe1PMrr0VaN4JA2n1yAeUwV/s320/bo+bartlett.jpg" width="320" /></a></div>
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Bo Bartlett</div>
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I don't know whether these two artists are really lovers, but the husband of one certainly enjoyed depicting them as such. Is there a menage-a-trois?<br />
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Bartlett's figurative painting used to appear regularly at the annual Chicago art fairs -- I'm glad he's back this year.<br />
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Elaine De Kooning</div>
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The subject matter and personal context of this painting</div>
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is much more compelling that the painting itself.</div>
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Fairfield Porter</div>
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Gregory Gillespie</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4QWpGwR4ctCFIMq5_zunSkQz6vbk-vW23gvq2dnR7qnn-5p6VFOLbFIBjCv5RZUPjnesr56r07vA27lwuUnck9sv1JCfoZGVG8ePfAczkqdobW3SbMxljV4A_3r_QK13maN9V/s1600/jules+kirschenbaumb.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="711" data-original-width="751" height="302" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4QWpGwR4ctCFIMq5_zunSkQz6vbk-vW23gvq2dnR7qnn-5p6VFOLbFIBjCv5RZUPjnesr56r07vA27lwuUnck9sv1JCfoZGVG8ePfAczkqdobW3SbMxljV4A_3r_QK13maN9V/s320/jules+kirschenbaumb.jpg" width="320" /></a></div>
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Jules Kirschenbaum</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaQoqdH8nDQ63gUlX8m5DANckyodyir_HC6Fm-GNCNI8bBdVI5DS3A_Xnvada6p_DqOrURQFf6hX83WhaAs_dS_IlXNOC95hMec9sxpGcpgJ5r0jIGd6TEwpX2EmbLZ01GNhfs/s1600/jules+kirschenbaum+cornelis.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="800" data-original-width="514" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaQoqdH8nDQ63gUlX8m5DANckyodyir_HC6Fm-GNCNI8bBdVI5DS3A_Xnvada6p_DqOrURQFf6hX83WhaAs_dS_IlXNOC95hMec9sxpGcpgJ5r0jIGd6TEwpX2EmbLZ01GNhfs/s320/jules+kirschenbaum+cornelis.jpg" width="205" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbcjEneWyURntqo5Q2E-zvFW0T3GKcrhWAxZaL7VuB_Dh6fsJS1HnhSnKvg-o48JOsmwwkU-J3pwiyR7EiyhjOPQxuBqDcV9zFe6LRcIUbX_pPbp955JhZIfyyLVI-gsrk75ih/s1600/kim+piotraowski.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="638" data-original-width="800" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbcjEneWyURntqo5Q2E-zvFW0T3GKcrhWAxZaL7VuB_Dh6fsJS1HnhSnKvg-o48JOsmwwkU-J3pwiyR7EiyhjOPQxuBqDcV9zFe6LRcIUbX_pPbp955JhZIfyyLVI-gsrk75ih/s320/kim+piotraowski.jpg" width="320" /></a></div>
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Kim Piotrowski</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEis4-ZnwA7_NL0GCPG5V2yHOhCFabuQ8mfF_YaJjvYKO6jJmIFomZ5Nsfl-6Afww9GK_4ARbORqpjCAjGInM0o31LChCbRTYOnLjfs13S-4sWLK3D8f1gzej6PHYFSZkMQlS9Wn/s1600/kim+piotraowski+label.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="754" data-original-width="800" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEis4-ZnwA7_NL0GCPG5V2yHOhCFabuQ8mfF_YaJjvYKO6jJmIFomZ5Nsfl-6Afww9GK_4ARbORqpjCAjGInM0o31LChCbRTYOnLjfs13S-4sWLK3D8f1gzej6PHYFSZkMQlS9Wn/s320/kim+piotraowski+label.jpg" width="320" /></a></div>
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I really liked
<a href="https://art.newcity.com/2018/04/12/three-painters-all-women-a-review-of-kim-piotrowski-heather-marshall-nina-rizzo-at-linda-warren-projects/"> Piotrowski's abstract painting</a> as seen earlier this year. The addition of a sketchy portrait seems to diminish rather than magnify the total effect.<br />
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Raphael Soyer</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9mqLOV4HJAvaf_jDy_BVtyfR8t2QAjWMqoFz10LwgnkAQrkT59BLPsfV6xwqCBo9WHwU4GyD4LUE48RZWAqCRZkJHJ08xwbpQbUwHiaW_3NUh-L8DzwS-ftfdo3xL2fZV_gv-/s1600/raphael+soyer+label.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="800" data-original-width="474" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9mqLOV4HJAvaf_jDy_BVtyfR8t2QAjWMqoFz10LwgnkAQrkT59BLPsfV6xwqCBo9WHwU4GyD4LUE48RZWAqCRZkJHJ08xwbpQbUwHiaW_3NUh-L8DzwS-ftfdo3xL2fZV_gv-/s320/raphael+soyer+label.jpg" width="189" /></a></div>
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That's it for Forum Gallery. They've been the main presenter of figurative painting at Art Expo ever since Arcadia and Marlborough stopped coming to Chicago.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc2PRRHnfo90fMkB-xo3IQEJKhOwKxYtAKzZ-fJjB8NagQiADWScETsPswHa7wh0Ar3WYiBSG_7Jyda4Vg_lzKjDcUCTDWbmmQGvsF7QYHmxogIPfk1qzJO36DiiDc4EQ6TMjn/s1600/dongwook+suh.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="625" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc2PRRHnfo90fMkB-xo3IQEJKhOwKxYtAKzZ-fJjB8NagQiADWScETsPswHa7wh0Ar3WYiBSG_7Jyda4Vg_lzKjDcUCTDWbmmQGvsF7QYHmxogIPfk1qzJO36DiiDc4EQ6TMjn/s320/dongwook+suh.jpg" width="250" /></a></div>
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Dongwook Suh</div>
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Sleepers are convenient models for those who likes to practice figure sketching.<br />
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This Korean painter has turned sleepers into rather dramatic characters - combining relaxation and anxiety.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglV-sc388Fd61Wd7VEL_Mr0yVFJfHSqxSixmQkAe49XReVYzniUrcsF2ckATnQmZjHv-N9FEZYJeAHYk4TXlrRnjr-W9qq6T1ZM8nK3rdSPiIop1NKBnK47LQxqHNdgCTPQWgG/s1600/dongwook+suh+hwajie.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="572" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglV-sc388Fd61Wd7VEL_Mr0yVFJfHSqxSixmQkAe49XReVYzniUrcsF2ckATnQmZjHv-N9FEZYJeAHYk4TXlrRnjr-W9qq6T1ZM8nK3rdSPiIop1NKBnK47LQxqHNdgCTPQWgG/s320/dongwook+suh+hwajie.jpg" width="228" /></a></div>
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Dongwook Suh</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8i7V8TC3bF0AXBmoxYzcdOFOEJM_Rqs3eKZJvZ6-RNfzD6Jih3Mig_NHI6fwta969yu-kllTsrWjYqvmJY4YZ_psRl5eUKcdVbPCteutQMYVL-yoTrUzpsAeWrJYqKQGgVCWv/s1600/janssen+stegner+team+spirit.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="790" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8i7V8TC3bF0AXBmoxYzcdOFOEJM_Rqs3eKZJvZ6-RNfzD6Jih3Mig_NHI6fwta969yu-kllTsrWjYqvmJY4YZ_psRl5eUKcdVbPCteutQMYVL-yoTrUzpsAeWrJYqKQGgVCWv/s320/janssen+stegner+team+spirit.jpg" width="316" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2k61AE3NJnper_bD-T7S0PX55msNM3dzYFdRuZKVXgc2UP57OIr63WLxfZcDj-n3anJvudeIylS-ziiXAsxcmJtOnMx_K61B6ggTAf1ImGFAaHYKzrUlwbwW9mkcvSBJWd-pt/s1600/jansson+stegner+kate+in+yellow.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="602" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2k61AE3NJnper_bD-T7S0PX55msNM3dzYFdRuZKVXgc2UP57OIr63WLxfZcDj-n3anJvudeIylS-ziiXAsxcmJtOnMx_K61B6ggTAf1ImGFAaHYKzrUlwbwW9mkcvSBJWd-pt/s320/jansson+stegner+kate+in+yellow.jpg" width="240" /></a></div>
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Jansson Stegner</div>
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Like American painters in the 1930's, this artist is working with a dynamic interaction of volumes that characterizes the spirit of the people portrayed.<br />
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If there is supposed to be some irony in the above images, I don't feel it.<br />
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Elsewhere, however, his figures become distorted, cartoonish, and comic.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsiVMuZR5G36Kll5u8w3P0fhAHvwb07abH30xhvktI4rOMNTki_NdzZHqXGnDxojweWor04gjo6W7Ji5gNLZ303C1v-CwPbDOuixGI51MAzyeVSJcsR0SkaRHsjIQwQ63tbfb8/s1600/robert+donley+1966.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="578" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsiVMuZR5G36Kll5u8w3P0fhAHvwb07abH30xhvktI4rOMNTki_NdzZHqXGnDxojweWor04gjo6W7Ji5gNLZ303C1v-CwPbDOuixGI51MAzyeVSJcsR0SkaRHsjIQwQ63tbfb8/s320/robert+donley+1966.jpg" width="231" /></a></div>
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Robert Donley</div>
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This depiction of LBJ pretty much captures how a draft age young man might have seen the Commander in Chief back in 1966. "Hey, Hey LBJ, how many kids did you kill today ?"<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXBPgbBdVCHMn4xhyslrh1QwdZt22B4FPkcYEHtyGael-83YlxglE7-GvDvKwZsLl-xFAv0tYqGAuo_h1P5pTEd7cy8M6p6PwbSJFjZbxoDag9F5a8s-KuWaSSu9NWTbBK4iXa/s1600/joseph+cornell+the+crack.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="800" data-original-width="588" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXBPgbBdVCHMn4xhyslrh1QwdZt22B4FPkcYEHtyGael-83YlxglE7-GvDvKwZsLl-xFAv0tYqGAuo_h1P5pTEd7cy8M6p6PwbSJFjZbxoDag9F5a8s-KuWaSSu9NWTbBK4iXa/s320/joseph+cornell+the+crack.jpg" width="235" /></a></div>
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Joseph Cornell, "The Crack"</div>
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Is this really the same artist who made all those boxes of found objects?</div>
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This collage is magical.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0AHsjfM1i5O7UnECA1dsQNZ582caUFyNkLqDHKT43qQz2Cn90VdYm4y380idogBM_ACC-ju_d9Tpfq_QKnJ_A8dFQ1Pf9Ynd53V9FEVox-SkGjSu9NipReu5qXlRgq-IU10XS/s1600/karl+wirsum.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="601" data-original-width="800" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0AHsjfM1i5O7UnECA1dsQNZ582caUFyNkLqDHKT43qQz2Cn90VdYm4y380idogBM_ACC-ju_d9Tpfq_QKnJ_A8dFQ1Pf9Ynd53V9FEVox-SkGjSu9NipReu5qXlRgq-IU10XS/s320/karl+wirsum.jpg" width="320" /></a></div>
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Karl Wirsum</div>
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This imaginative piece remains eye-catching and bizarre fifty years after the young Hairy Who's shot to the top of the Chicago artworld.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM8RZU6bi2vVGYhnpYuirhyphenhyphenP3qe75wAYBBFZOEry8Ju5-08p9-A2Mh5d5HEpBQb5eTOIL9LTNr0zymadzSV0rv_1rx3ffq3iRK1FMl6RcEvuiuMS8nITGIY_kIMBImeTnZ8szo/s1600/picasso+1964.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="679" data-original-width="800" height="271" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM8RZU6bi2vVGYhnpYuirhyphenhyphenP3qe75wAYBBFZOEry8Ju5-08p9-A2Mh5d5HEpBQb5eTOIL9LTNr0zymadzSV0rv_1rx3ffq3iRK1FMl6RcEvuiuMS8nITGIY_kIMBImeTnZ8szo/s320/picasso+1964.jpg" width="320" /></a></div>
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Picasso, 1964</div>
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This year's Picasso is a rather forgettable piece dashed off by the 83 year old artist<br />
who portrays himself as an old fool.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjxLUJxG2Kf5KQMNfwD6RFrsuI3EpR6p_53A1UfKeCu9EqIcAz8SKKfPO_UceuJxY5S88SG9EJ_X3FWtazn1Wtz2DZp9lTfjZ-Gz-DNFX0k9CZUMSfsScortKMig4peaPg7Dhn/s1600/ridley+howard+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="655" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjxLUJxG2Kf5KQMNfwD6RFrsuI3EpR6p_53A1UfKeCu9EqIcAz8SKKfPO_UceuJxY5S88SG9EJ_X3FWtazn1Wtz2DZp9lTfjZ-Gz-DNFX0k9CZUMSfsScortKMig4peaPg7Dhn/s320/ridley+howard+2.jpg" width="262" /></a></div>
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Ridley Howard</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzcQK_NxOVF3TPxydSz03PCSl0UxMkxvK7TG2-pMAQ_ZuJyECVtI26y3WLOkVhe_H6O8uDzh3qsUmuFHjTKrxn1zHOtGipYd_AWJQm1s_gh2c2FJOoh4h8UTK3cJgRxdBwjXBc/s1600/ridley+howard.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="649" data-original-width="800" height="259" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzcQK_NxOVF3TPxydSz03PCSl0UxMkxvK7TG2-pMAQ_ZuJyECVtI26y3WLOkVhe_H6O8uDzh3qsUmuFHjTKrxn1zHOtGipYd_AWJQm1s_gh2c2FJOoh4h8UTK3cJgRxdBwjXBc/s320/ridley+howard.jpg" width="320" /></a></div>
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Ridley Howard</div>
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A bit staid and well mannered -- but still as fresh and alluring as a tropical breeze.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCZXXkGsVEMI5sznTlgMS1Ro-cV8Psj28p5-l6X7ACkhe-DjQ6bc914VfzJ3a7ApyaXw8nwzlfO5fVf0iEt80fQ0-sVPdx-i3qykdHzlmwlxw9oCefKH5a2rHil1EQxhiM_Ycr/s1600/walt+kuhn+sybil+1932.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="420" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCZXXkGsVEMI5sznTlgMS1Ro-cV8Psj28p5-l6X7ACkhe-DjQ6bc914VfzJ3a7ApyaXw8nwzlfO5fVf0iEt80fQ0-sVPdx-i3qykdHzlmwlxw9oCefKH5a2rHil1EQxhiM_Ycr/s320/walt+kuhn+sybil+1932.jpg" width="168" /></a></div>
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Walt Kuhn</div>
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A sordid innocence -- that contrasts nicely with the asexual female nude below, done at least 80 years later:<br />
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Julie Hefferman</div>
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George Shaw, "Love and Death on a Sunny Day"</div>
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These are the only cityscapes that I could find at Expo. Sadly, the Paul Thiebaud Gallery did not participate this year.<br />
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As the title might suggest, it's more of a narrative than a view of a city.<br />
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George Shaw</div>
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Is that a cock and balls sketched onto those weathered white doors to nowhere?<br />
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Seems to express that kind of pathetic male frustration that has been driving national politics lately - in the UK as well as USA.<br />
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John Santoro</div>
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Tthis is the closest thing to a contemporary landscape that I found this year.</div>
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Santoro is one of my favorite Chicago painters.</div>
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(and I couldn't find any still-life painting at all --</div>
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which is a shame, since Expo used to have quite a few</div>
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great examples - especially by Claudio Bravo)</div>
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Johnny Abrahams</div>
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Joseph Hart</div>
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Both of the above abstract monochrome painters were shown by Romer Young, a San Francisco gallery.<br />
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Very exciting - as well as sedate -- they maximize energy as they push against the parameters they've set.<br />
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This was one of my favorite rooms in the show.<br />
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Julian Schnabel, 2015</div>
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What a wanton, luxurious, eruption</div>
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As William Blake put it:<br />
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<span style="color: red;">The road of excess leads to the palace of wisdom.</span></div>
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Willem De Kooning (detail)</div>
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And here is some sensual excess from an earlier generation of New York painters.<br />
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Julius Tobias</div>
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This arresting wall sized piece was done in 1960 --- though it could have been made yesterday as well.<br />
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Marsden Hartley, 1922</div>
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This kind of aggressive conglomeration, resembling a still life, also has its contemporary proponents - like Magalie Guerin who has appeared at Art Expo in years past.<br />
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John Little, 1946</div>
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The artist was born 30 years after Hartley and 66 years before Guerin, while the above painting has much in common with both.<br />
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Al Held, 1960</div>
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Yet another New York abstract painter who had quite a long and varied career - though this is the first time I've seen his work. (will have to get off at the 53rd St. station on the Lexington Avenue subway the next time I ride it)<br />
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Charles Green Shaw, 1960</div>
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Done when he was nearly 70, this piece seems to share the angst of the generation of American abstract painters who were forty years younger than him.<br />
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Egon Adler, 1960</div>
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Feels like a standing figure to me -- more resilient than heroic.<br />
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The artist, then aged 68, was a Holocaust survivor.<br />
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Egon Adler</div>
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Esphyr Slobodkina</div>
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This Russian immigrant is best known for her children's books.</div>
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Her above variations on Suprematism is rather light hearted and humorous.</div>
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Federico Herrero Parlante (b. 1978)<br />
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This work is hard edge, but not angular and aggressive.<br />
It feels gentle and tropical. The artist is Costa Rican.<br />
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Nick Dawes</div>
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Another mellow, humorous abstract design. This one seems to suggest people waiting for a bus. (the black one in the center is the most impatient). The artist is British.<br />
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Harold Haydon</div>
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A nice Chicago cityscape</div>
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Harold Haydon</div>
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Possibly professor Haydon was thinking about Matisse that day.</div>
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Martin Creed</div>
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An unusually visual creation from an artist who mostly does conceptual work.</div>
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Norman Kantner, 1959</div>
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What an odd piece - with a big, gaping hole in the enter.<br />
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The colors are quite patriotic.<br />
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Robert Motherwell, 1975</div>
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Dada meets Tao.</div>
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Tom Laduke</div>
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A large, totally wacky confabulation that seems to owe much to the imagery of video games.<br />
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detail</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijOqOET72YAV3vmjQyfKF7KEtSx8gZpeCV40AQ1uAzvVd6SvATW82YrpjXQqb7npKko1lyLDvxlyTAWYQdLKsAxmdWLT9JnAwtvZ22JJSauBJ8tmIzoM87HwJJeB12X0nXe0Xr/s1600/tom+laduke3.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="334" data-original-width="500" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijOqOET72YAV3vmjQyfKF7KEtSx8gZpeCV40AQ1uAzvVd6SvATW82YrpjXQqb7npKko1lyLDvxlyTAWYQdLKsAxmdWLT9JnAwtvZ22JJSauBJ8tmIzoM87HwJJeB12X0nXe0Xr/s320/tom+laduke3.jpeg" width="320" /></a></div>
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Not surprisingly --- this is the studio of the artist.</div>
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by contrast -- this is the studio of Bo Bartlett</div>
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Tomory Dodge, "Gorgon"</div>
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This work feels so Caribbean.</div>
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I would love to have this pattern on a shirt.</div>
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It presents a life of joy, wonder, and activity.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC6YfqU0gDNB_XKlXuVmI16IDdR1zxBZEakLBbAORNSCuyTMjzMW1adhtonk2P20ch4BbPClOUzdAStAsXXG4Zd9zDGz-Y_JAFBTK3Jdmlx9FX4bODIgnmoxq9gXN-g8Di6IIL/s1600/tomory+dodge+mean+uncle.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="731" data-original-width="616" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC6YfqU0gDNB_XKlXuVmI16IDdR1zxBZEakLBbAORNSCuyTMjzMW1adhtonk2P20ch4BbPClOUzdAStAsXXG4Zd9zDGz-Y_JAFBTK3Jdmlx9FX4bODIgnmoxq9gXN-g8Di6IIL/s320/tomory+dodge+mean+uncle.jpg" width="269" /></a></div>
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Tomory Dodge, "Mean Uncle"</div>
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William Anastasi</div>
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Isn't this how nerve cells look under magnification?<br />
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It's seems to represent the daily buzz of a healthy brain.</div>
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Michael Mueller</div>
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There wasn't much figure sculpture at Expo this year. This piece, with the puzzling title, seems to be a copy or a cast of something made in earlier centuries. Apparently one of the original's arms broke at the shoulder, revealing an inner wire </div>
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I doubt that the conceptual artist who made these copies is Christian - but probably his ancestors were. The piece feels Germanic -- maybe from Austria. Presumably it was cast in impermanent materials so that it would decay just as the Christian faith has.<br />
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It still, however, has a stronger visual inner life than any other sculpture at Expo.</div>
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Nicolas Africano</div>
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A new look for Africano's classical scupture this year -- the nudes have been clothed and are now wearing sun hats.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaK8oeCoSje9eYy_BydfO9zocjUidynKyBSvzi1K13MG6trDxfy6ohS6fklS7C62lUOthgvdIX9A1TcaqGnNyNJ7NiRD41Gk8ck70z1shx879BmH5SWPtxMYi_DUxarYbFaSm4/s1600/africano3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="570" data-original-width="800" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaK8oeCoSje9eYy_BydfO9zocjUidynKyBSvzi1K13MG6trDxfy6ohS6fklS7C62lUOthgvdIX9A1TcaqGnNyNJ7NiRD41Gk8ck70z1shx879BmH5SWPtxMYi_DUxarYbFaSm4/s320/africano3.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggsNr4gYsABihZ5K7Wy1fp_PNGLzS9vLOjUluue2uSpQ64cgvSrDRTKOzux4rDTS_M-i6wvV-VrsHRXsWr0cwJkJjzayRIefPmSDOgNl_H48e_8kqU1QUJplV0jrgYA1RvibdS/s1600/africano.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="352" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggsNr4gYsABihZ5K7Wy1fp_PNGLzS9vLOjUluue2uSpQ64cgvSrDRTKOzux4rDTS_M-i6wvV-VrsHRXsWr0cwJkJjzayRIefPmSDOgNl_H48e_8kqU1QUJplV0jrgYA1RvibdS/s320/africano.jpg" width="140" /></a></div>
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Nicolas Africano</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh41Y-hG4KEL_GoYlUjA2_3xMPQ67csOSwqRuES2ybN9QSqQAbyvJ6J_e8V6Jlw-N7JHLouFH3u8uc_wVsArtmTwA_CN3SHJRxdKTbk0d9elOlKm_pedQP4AgW2bCMiABHLKlT-/s1600/alexander+tallen.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="763" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh41Y-hG4KEL_GoYlUjA2_3xMPQ67csOSwqRuES2ybN9QSqQAbyvJ6J_e8V6Jlw-N7JHLouFH3u8uc_wVsArtmTwA_CN3SHJRxdKTbk0d9elOlKm_pedQP4AgW2bCMiABHLKlT-/s320/alexander+tallen.jpg" width="305" /></a></div>
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Alexander Tallen</div>
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Funny and pretty -- my favorite tchotchke among the others this artist has made<br />
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<a href="http://maryqian.com/">Mary Qian's</a> picks:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig2K4XqZTRRaM1HpwqZTNKQVzQFW1pwugrJKDXVMVpqfl96nQmOgEYbU2tanpyArPxxZf0C4iH4I1icTdn1lBg692pso4k_gt3NKEecY33yBkpcgPJzQOx0gkX4EmtgSWkqcoJ/s1600/mq1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="568" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig2K4XqZTRRaM1HpwqZTNKQVzQFW1pwugrJKDXVMVpqfl96nQmOgEYbU2tanpyArPxxZf0C4iH4I1icTdn1lBg692pso4k_gt3NKEecY33yBkpcgPJzQOx0gkX4EmtgSWkqcoJ/s320/mq1.jpg" width="227" /></a></div>
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Charles Green Shaw</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq1u_hg6oSgVMCUyyJS-iaOpPLshfPgpz0yYTtWF61HIE4QwdSGcPaOkBZzPLrcDhe_RuKUPv9UH_Wi4wbzG35bXS6FB36LjG-Y67_TGuDkFkL06AiBSiGzD_Lqw8M-zauC7oh/s1600/mq2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq1u_hg6oSgVMCUyyJS-iaOpPLshfPgpz0yYTtWF61HIE4QwdSGcPaOkBZzPLrcDhe_RuKUPv9UH_Wi4wbzG35bXS6FB36LjG-Y67_TGuDkFkL06AiBSiGzD_Lqw8M-zauC7oh/s320/mq2.jpg" width="240" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKDxf-JX3O-c37c4bOkxUHyscelpl8NUFkG1kKgdh16-Jg0VWI6ZXuj0Py6a56AFZLeB8cjCvSP5LBUleITv78J4o7FBiSRxy8pDmgd3u00loC_sMsB794PmjT6qKfdQy8YD5y/s1600/mq2%253Db.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="768" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKDxf-JX3O-c37c4bOkxUHyscelpl8NUFkG1kKgdh16-Jg0VWI6ZXuj0Py6a56AFZLeB8cjCvSP5LBUleITv78J4o7FBiSRxy8pDmgd3u00loC_sMsB794PmjT6qKfdQy8YD5y/s320/mq2%253Db.jpg" width="307" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcr9ehSnaeqliixxSXiJF5u1F5XPqL9yPrKAlNS2lo-MVtawrYzIcqwAhRX3ogJI7Cq7lC5JiYUwj-snUOzdrrFCk3Po5a0ed49ysqpXwtVyYg3Wo4nuCKuCD3lTtusTGqjIrf/s1600/mq3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="781" data-original-width="800" height="312" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcr9ehSnaeqliixxSXiJF5u1F5XPqL9yPrKAlNS2lo-MVtawrYzIcqwAhRX3ogJI7Cq7lC5JiYUwj-snUOzdrrFCk3Po5a0ed49ysqpXwtVyYg3Wo4nuCKuCD3lTtusTGqjIrf/s320/mq3.jpg" width="320" /></a></div>
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John Santoro</div>
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I've written about this artist
<a href="https://art.newcity.com/2016/08/29/abstract-and-expressionist-but-not-quickly-done/">here</a>...</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_fQfsNqJXVM9LN8jxUmjAqH1kdqonuNS4VfLtCAVYVOKC0k1lfu5bGsI-vgVWn1XSfdeci1pfI_9KYUzYB07ulJDFcC-iGwp5GWtuu6ejLUW4gKjk1w8FoCuRGQetoQRW0V8C/s1600/mq4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_fQfsNqJXVM9LN8jxUmjAqH1kdqonuNS4VfLtCAVYVOKC0k1lfu5bGsI-vgVWn1XSfdeci1pfI_9KYUzYB07ulJDFcC-iGwp5GWtuu6ejLUW4gKjk1w8FoCuRGQetoQRW0V8C/s320/mq4.jpg" width="240" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL7NrQWsDfnD-CmdYvtb_3zedfY77xxK-Ek4UB755_z5k5YI2wIUfmnlRJ-6MKiq4i9ZNObzO5yCge8Lho8nDCERBuy0Hjhd8pZ7ONwDXkEZ0eG3xbVaYRdtfy7YthAvLH8M4t/s1600/mq5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL7NrQWsDfnD-CmdYvtb_3zedfY77xxK-Ek4UB755_z5k5YI2wIUfmnlRJ-6MKiq4i9ZNObzO5yCge8Lho8nDCERBuy0Hjhd8pZ7ONwDXkEZ0eG3xbVaYRdtfy7YthAvLH8M4t/s320/mq5.jpg" width="240" /></a></div>
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Mary has also selected several depictions of African Americans</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKkFEnMdLBGNkJewdr5fnilNgUOWmLDDODQBu7y9YtqXA2qz1w2W2fzeTm5lSIAg_PJhaSP2tALy5IwP_bPHiTSBYM12N1RNuSyaZA8fsr5B-QCE577dnIf6rX9DO2b-d4L-p2/s1600/mq5a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKkFEnMdLBGNkJewdr5fnilNgUOWmLDDODQBu7y9YtqXA2qz1w2W2fzeTm5lSIAg_PJhaSP2tALy5IwP_bPHiTSBYM12N1RNuSyaZA8fsr5B-QCE577dnIf6rX9DO2b-d4L-p2/s320/mq5a.jpg" width="240" /></a></div>
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Bisa Butler</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6yspe92ll2BjRGPdV2AhfA9Z3p2Oe5Rw_BMeK0OyaObzD3JWUiwArEP8AHqSeltgDCTxQ8QkHSK9r3Fcxmmqj-3D9QO1e4ucA_GAs5URHYgg3LSCsKRiR4jn4AzQEVOa2Zx6L/s1600/mq6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6yspe92ll2BjRGPdV2AhfA9Z3p2Oe5Rw_BMeK0OyaObzD3JWUiwArEP8AHqSeltgDCTxQ8QkHSK9r3Fcxmmqj-3D9QO1e4ucA_GAs5URHYgg3LSCsKRiR4jn4AzQEVOa2Zx6L/s320/mq6.jpg" width="240" /></a></div>
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Kehinde Wiley</div>
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I've written about this artist
<a href="https://art.newcity.com/2010/09/27/review-kehinde-wileyrhona-hoffman-gallery/">here </a>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWIbKAoM4Bpz13gSw6bQrt-EjVYcJy_0Mrmx7RhbW2c1wX6Lb7TqYbfeQCKhS2D4B45nS8UWNLs4q-47ZiznB-nqD5qhfFWpFXZtMgP-wleFyhTa5KPW-Co1-j9hBej9Lu16Q1/s1600/mq7.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="724" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWIbKAoM4Bpz13gSw6bQrt-EjVYcJy_0Mrmx7RhbW2c1wX6Lb7TqYbfeQCKhS2D4B45nS8UWNLs4q-47ZiznB-nqD5qhfFWpFXZtMgP-wleFyhTa5KPW-Co1-j9hBej9Lu16Q1/s320/mq7.jpg" width="289" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglWs4NdlhOMkeIgeRjwNpp64PoclTSLXFB54eIfaHW51YKr3P1XEq0QQ_88eKP4pvn8xo7iVQOEFETpy1Nk2gF-7kfjzsjQJcIyQ3pWro4r-dzxwW9SVQnosna4sIZ0bWDUKYr/s1600/mq8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglWs4NdlhOMkeIgeRjwNpp64PoclTSLXFB54eIfaHW51YKr3P1XEq0QQ_88eKP4pvn8xo7iVQOEFETpy1Nk2gF-7kfjzsjQJcIyQ3pWro4r-dzxwW9SVQnosna4sIZ0bWDUKYr/s320/mq8.jpg" width="240" /></a></div>
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Jaume Plensa</div>
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I've written about this artist
<a href="https://art.newcity.com/2014/08/02/review-jaume-plensamillennium-park-and-richard-gray-gallery/">here </a>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhercpHfqPDG88d8Z3oNwIhwObAOlUb2ielWf7uO8lnxYQE12jgohKUvUAZr2c4ZgVdhuvoEA_Wyt0LL1IMKTj33yurlGx3rqLrj3KmXpN0z4ptYTUVm-tRtHTCDQY1HlSqR8Ys/s1600/mq9.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhercpHfqPDG88d8Z3oNwIhwObAOlUb2ielWf7uO8lnxYQE12jgohKUvUAZr2c4ZgVdhuvoEA_Wyt0LL1IMKTj33yurlGx3rqLrj3KmXpN0z4ptYTUVm-tRtHTCDQY1HlSqR8Ys/s320/mq9.jpg" width="240" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNBh2w-jMTtpZ3WeyponBil5ShTtWQw6GzB8HY0U4B1yWrVafRc-UNrCJj3Zf7zsaLx7dVjZbfytoKZmmqKeXJRtTLcJ61bSCOwjuOBs1EyZ8Zv8ICVr5RpitLLBsBp3KHd1Qx/s1600/mq12.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNBh2w-jMTtpZ3WeyponBil5ShTtWQw6GzB8HY0U4B1yWrVafRc-UNrCJj3Zf7zsaLx7dVjZbfytoKZmmqKeXJRtTLcJ61bSCOwjuOBs1EyZ8Zv8ICVr5RpitLLBsBp3KHd1Qx/s320/mq12.jpg" width="240" /></a></div>
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Elaine De Kooning</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCPqmtagVlAd9yU1ujAFMeFIAQx4uW98T0u8ehfd3WBv0fSY-_jnfI41w7iWiQOPTyA-Q1aoRwtVbJC0cfthXJ_SaLaxf6N6r3hRLlXBLDpUnl1ALyD6MM6983XQaP4vq7Nc3y/s1600/mq13.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="735" data-original-width="800" height="294" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCPqmtagVlAd9yU1ujAFMeFIAQx4uW98T0u8ehfd3WBv0fSY-_jnfI41w7iWiQOPTyA-Q1aoRwtVbJC0cfthXJ_SaLaxf6N6r3hRLlXBLDpUnl1ALyD6MM6983XQaP4vq7Nc3y/s320/mq13.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirrIuXNZCf7qB0W_HIh1Am6QhmSwc2FMHyq8MBGfn83FV33MmSPFSb2qM6OSZ5GeqI6LbqXRzKJhChTKxsndcG56-rKhJsaRYAvJ7B9NvCgIior2UOZTESbCEfb8YJUSiiokzx/s1600/mq14.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="800" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirrIuXNZCf7qB0W_HIh1Am6QhmSwc2FMHyq8MBGfn83FV33MmSPFSb2qM6OSZ5GeqI6LbqXRzKJhChTKxsndcG56-rKhJsaRYAvJ7B9NvCgIior2UOZTESbCEfb8YJUSiiokzx/s320/mq14.jpg" width="320" /></a></div>
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NEW CITY at the fair</div>
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<a href="https://art.newcity.com/2018/10/02/expo-2018-how-to-write-about-an-art-fair/">
Alan Pocaro </a> tried to characterize the entire art fair. Not surprisingly, he failed.<br />
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The "post-painterly" Alan Dawes was the only artist that both of us noticed.
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Two other New City writers, Kelly Cardoza and Luke Fidler, listed their picks <a href="https://art.newcity.com/2018/10/02/expo-2018-critics-picks/">here</a> --- none which I can even remember seeing.
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<a href="https://art.newcity.com/2018/10/01/for-the-many-not-for-the-few-market-reflections-on-expo-2018s-commercial-offerings/">Stephen Eisenman </a> did some hand wringing
over the cost of the work being shown. He calculated that the average price was $50,000 --- so only incomes in the top 1% could afford to buy instead of just look. If he really wanted to write about affordable art, however, he could have gone to TOAF (The Other Art Fair) running concurrently at Mana Contemporary. By the way -- I noticed several delightful paintings at Expo that were selling for around $5000<br />
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<br />chris millerhttp://www.blogger.com/profile/09575033275184403015noreply@blogger.com0tag:blogger.com,1999:blog-19047760.post-46012384421735577192018-06-17T09:07:00.001-05:002018-06-19T13:14:00.960-05:00Basement Storm Door<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0Y_Zes7X-7jxJ1a-Yk09syf7Tp2PGVLeb1GGCtf2J79_P51KF3zQMTxAGyCQgT53LvinCHHBTe-z6Iae7harnFbwD9Tb8YPG4NQS8wpZsR7KGFDv84897sMG8439y0_QqVCsR/s1600/zzz-screen+door-use.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="562" data-original-width="800" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0Y_Zes7X-7jxJ1a-Yk09syf7Tp2PGVLeb1GGCtf2J79_P51KF3zQMTxAGyCQgT53LvinCHHBTe-z6Iae7harnFbwD9Tb8YPG4NQS8wpZsR7KGFDv84897sMG8439y0_QqVCsR/s320/zzz-screen+door-use.jpg" width="320" /></a></div>
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The above pattern was created by the effects of sun and water on the aluminum storm door that leads to our basement.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO1k-2UV7V5uq1gcQp3_Z6AByx0Tkl2s0JTiGVNxDstGHQEYNSlcMFbOHzbvVOmj2W4jBAYh1TNXchehQ0v_-4m6aK5LW8Q95WTY-7bC_eNgmuaG3RMKSTBjS8OVkcILqn0SPw/s1600/zzz-screen+use2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="800" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO1k-2UV7V5uq1gcQp3_Z6AByx0Tkl2s0JTiGVNxDstGHQEYNSlcMFbOHzbvVOmj2W4jBAYh1TNXchehQ0v_-4m6aK5LW8Q95WTY-7bC_eNgmuaG3RMKSTBjS8OVkcILqn0SPw/s320/zzz-screen+use2.jpg" width="320" /></a></div>
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It's pleasant enough - especially when it glistens after a rain -so I have no interest in cleaning it off.</div>
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Often nature makes beautiful things -- like waterfalls or quartz or a woman's delicate ankle.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3r7keCB8DM_4mVhSy2S_vQs7vvFwygUQB0Wfuq6FXpy9GEuU2pB7uABaVkWeruJSaNzXD2eXeeBSO7nAzG4uz9zD7b6Zh3OY_x9f6Na5ykgYcNGdLIloNXh5JWe_KNlyEkDR7/s1600/use-+xue+-+lang+feng.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1593" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3r7keCB8DM_4mVhSy2S_vQs7vvFwygUQB0Wfuq6FXpy9GEuU2pB7uABaVkWeruJSaNzXD2eXeeBSO7nAzG4uz9zD7b6Zh3OY_x9f6Na5ykgYcNGdLIloNXh5JWe_KNlyEkDR7/s320/use-+xue+-+lang+feng.jpg" width="318" /></a></div>
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Xu Longsen</div>
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Above is a contemporary brush painting currently on display in one of the Asian galleries at the Art Institute of Chicago.<br />
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It's much larger -- about six feet on each side -- and it feels more profound, mysterious, and heart-felt.<br />
The forces of Nature are cold and heartless - while every human (or most every human) was born into a mother's love.<br />
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But it still seems to have much in common with my basement door.<br />
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Here is <a href="http://www.chicagotribune.com/entertainment/museums/ct-ent-xu-longsen-art-institute-review-0617-story.html">
Lori Waxman's feature </a>in the Chicago Tribune
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Here is my
<a href="https://art.newcity.com/2018/06/19/bold-and-new-but-steeped-in-tradition-a-review-of-xu-longsen-at-the-art-institute-of-chicago/">self-published review </a>
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At the beginning of her review, Ms. Waxman queries:<br />
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<span style="color: orange;">"What does it mean, then, for a major new series of paintings by Xu Longsen, a Chinese artist born in Shanghai in 1956, to be installed throughout the galleries of Chinese, Japanese and Korean Art?"</span><br />
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Why isn't it in the Modern Wing where other contemporary Chinese artists like Ai WeiWei have been exhibited?</div>
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She does not attempt to answer that question.</div>
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It might be noted that this is not the first time that living Asian artists have been exhibited in the Asian wing. It has happened before with calligraphy, ceramics, and basket weaving done in a traditional manner.</div>
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Yet still -- this exhibition seems exceptional. It's so huge -- and not entirely traditional.</div>
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One possible explanation for its installation in the Asian wing might be that the new curator of Asian art was more interested than was the curator of contemporary art.<br />
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Or perhaps Xu Longsen felt that feng shui of the Asian galleries, especially the Ando, was better than any available space in the Modern Wing -- though I'm sure he would have had no problem creating pieces for the cavernous Griffin Court.<br />
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Since the Art Institute likes to keep such issues private, we'll probably never know.<br />
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<br />chris millerhttp://www.blogger.com/profile/09575033275184403015noreply@blogger.com0