The Daily

Posts Tagged ‘painting’

That’s Why We’re Running Away

August 30, 2016 | by

Sebastian Blanck’s new exhibition, “That’s Why We’re Running Away,” opened last week at Wetterling Gallery. Blanck, known for his intimate portraits of family and friends, has focused his latest work on landscape. The exhibition closes October 1. 

Sebastian Blanck, Blinding Light, 2016.

Sebastian Blanck, Blinding Light, 2016.

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Daughters of the Guild

April 4, 2016 | by

Judith Leyster and the overlooked women painters of the Dutch Golden Age.

Judith Leyster, Self Portrait, ca. 1630, oil on canvas, 29.4" × 25.6".

In 1892, a painting that had been attributed to Frans Hals for more than a century became the subject of a dispute between two English art dealers. The 1630 painting, known at various times in English as The Happy Couple or Carousing Couple, was typical Hals and Dutch Golden Age territory—a genre scene of a couple making merry in a tavern. Pink-cheeked, bemused, the woman raises a glass while her male companion sings and plays the violin. When the painting changed hands for forty-five hundred pounds, the buyer sued after discovering a signature other than Frans Hals right below the violinist’s shoe. It was a monogram nobody seemed to recognize: a conjoined J and L, struck through with a five-pointed star.

leystersig

As a result of the court case’s publicity—the media has always loved it when art experts get it wrong—a Dutch collector and art historian, Cornelis Hofstede de Groot, recognized the monogram as belonging to Judith Leyster, one of the first women painters to be admitted to a Guild of Saint Luke in the Netherlands during the seventeenth century. Though she’d been praised by the observers and historians of her era, Leyster had essentially been erased from art history since her death in 1660. In 1648, when Leyster was not yet forty, the Dutch commentator Theodore Schrevel had noted, “There also have been many experienced women in the field of painting who are still renowned in our time, and who could compete with men. Among them, one excels exceptionally, Judith Leyster, called ‘the true Leading star in art.’ ” Since leyster means “lodestar” in Dutch, Schrevel enjoyed a pun to underscore his point. Read More »

Clairvoyant Observation

March 9, 2016 | by

A vision of Wallace Stevens’s “Sunday Morning” at its centenary.

Diane Szczepaniak, Stanza 6 (Is there no change of death in paradise).

When “Sunday Morning” was first published in the November 1915 issue of Poetry, just over a hundred years ago, Wallace Stevens was thirty-six; the poem was one of his first major publications. He’d recently moved to the Hartford Accident and Indemnity Company, where he would spend the rest of his life insuring people against the hazards of sudden change. His professional and poetic lives converged on that fact: everything changes.

A spiritual meditation for a secular era, “Sunday Morning” glows with the ripe colors of late summer and early autumn, brief arc segments of the seasonal cycle whose rhythms Stevens celebrates.

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In 2007, my mother, Diane Szczepaniak, a lifelong abstract painter and sculptor, began to memorize “Sunday Morning.” She was unaccustomed to memorization; it became a kind of ritual for her. She kept Stevens’s book by her bed and worked through the poem line by line. As she built each stanza in her memory, she began to paint her experience of the images, music, and emotions carried by the language. The paintings became her “Sunday Morning” seriesRead More »

Hoops and the Abstract Truth

March 1, 2016 | by

Curry after his game-winning shot.

“The most beautiful experience we can have is the mysterious,” Einstein wrote in The World As I See It. “It is the fundamental emotion that stands at the cradle of true art and true science.”

Thus far, the NBA has been far from that cradle this season. There’s not a lot of mystery when you have two superior teams—when the best players in the game are playing like the best players in the game. The results have, for the most part, certified reasonable assumptions as truths. Read More »

The Gayety of Vision

January 25, 2016 | by

Karen Blixen in Copenhagen, 1957.

INTERVIEWER

What is your favorite fruit?

DINESEN

Strawberries.

INTERVIEWER

Do you like monkeys?

DINESEN

Yes, I love them in art: In pictures, in stories, in porcelain, but in life they somehow look so sad. They make me nervous. I like lions and gazelles.

—Isak Dinesen, the Art of Fiction No. 14, 1956

When Isak Dinesen gave her 1956 Art of Fiction interview, she was into her seventies. It’s one of the strangest entries in the Review’s Writers at Work series. While the focus is, naturally, on Dinesen’s work as an author, the artist, also known as Baroness Karen Christentze Blixen-Finecke, addresses her career as a painter, too: Read More »

Idle Bird

December 31, 2015 | by

We’re away until January 4, but we’re re-posting some of our favorite pieces from 2015. Please enjoy, and have a happy New Year!

coalmine-in-the-borinage-1879(1)

Vincent van Gogh, Coalmine in the Borinage, 1879.

Van Gogh finds art in the Borinage.

In October of 1879, Theo van Gogh went to visit his brother, Vincent, in the Borinage coal-mining district of Belgium. Theo was en route to Paris, where he had business to conduct as an art dealer; Vincent was doing self-appointed missionary work. The pair walked along an abandoned quarry that reminded them of a canal they’d frequented as children in Holland, but now there was an undeniable rift between them. Theo, upset by Vincent’s appearance—he had given away nearly all of his clothes to the miners, and had ceased bathing—told him, “You are not the same any longer.” He felt that Vincent was wasting his time in this squalid place, and suggested that he leave to take up a different trade.

Angry at his brother’s inability to understand him, Vincent wrote a letter to Theo on October 15 that would be the last for ten months. The brothers had been writing letters to each other almost unceasingly since 1872, when Vincent was nineteen and Theo fifteen. This would be the first and deepest rupture between them, a silence that would never repeat itself. Referring to Theo’s accusation of “idleness,” Vincent wrote with bitterness, Read More >>