{"id":82967,"date":"2015-02-24T18:17:37","date_gmt":"2015-02-24T23:17:37","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=82967"},"modified":"2015-02-24T18:17:37","modified_gmt":"2015-02-24T23:17:37","slug":"alice-neels-brothers-karamazov","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/02\/24\/alice-neels-brothers-karamazov\/","title":{"rendered":"Alice Neel\u2019s <i>Brothers Karamazov<\/i>"},"content":{"rendered":"<div id=\"attachment_82972\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/the-brothers-karamazov-1.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-82972\" class=\"wp-image-82972\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/the-brothers-karamazov-1.jpg\" alt=\"The-Brothers-Karamazov-1\" width=\"600\" height=\"875\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/the-brothers-karamazov-1.jpg 1000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/the-brothers-karamazov-1-206x300.jpg 206w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/the-brothers-karamazov-1-702x1024.jpg 702w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-82972\" class=\"wp-caption-text\">Alice Neel, <i>Untitled (Karamazov, His Three Sons, and the Servant Gregory)<\/i>, ca. 1938, 14 \u00bc\u201d x 10\u201d. \u00a9 The Estate of Alice Neel. Courtesy David Zwirner, New York\/London.<\/p><\/div>\n<p>Alice Neel, who died in 1984, is remembered best as a portraitist\u2014her paintings present friends, lovers, and other intimates with an astonishing, often forbidding guilelessness. Your average Neel portrait is penetrating, flip, scary, and more than a little funny, depending on how long you\u2019re willing to hold its subject\u2019s gaze. Neel\u2019s people all look to be plodding through the Stations of the Cross with a kind of decadent resignation\u2014this is the world we live in, and oh well. \u201cAlice loved a wretch,\u201d her daughter-in-law <a href=\"http:\/\/www.theguardian.com\/artanddesign\/2004\/may\/29\/art\">told the<em>\u00a0Guardian<\/em> in 2004<\/a>. \u201cShe loved the wretch in the hero and the hero in the wretch. She saw that in all of us, I think.\u201d<\/p>\n<p>When Neel wasn\u2019t painting, she was sketching. <em><a href=\"http:\/\/www.davidzwirner.com\/artists\/alice-neel\/publications\/image\/\">Alice Neel: Drawings and Watercolors<\/a><\/em>, a new book with a corresponding exhibition, collects this interstitial work, some of it polished and some hauntingly restive. \u201cThere is an essential melancholy to Neel\u2019s work,\u201d Jeremy Lewison writes in the book\u2019s opening essay. \u201cShe presents a world of hardship, of tenement buildings and shared bathing facilities, of underprivileged and underclass immigrants, of humanity weighed down by the burdens of living in the harsh metropolitan environment, of human loss and tragedy.\u201d<\/p>\n<p>All of which makes her a natural candidate to reckon with the Russian classics, those icons of gloom. <!--more--><\/p>\n<p>Well, someone must\u2019ve thought so, once, and that someone was right. In the thirties, Neel made a series of illustrations for an edition of <em>The Brothers Karamazov <\/em>that apparently never came to fruition. It\u2019s not clear if the publishers rejected her work or if the whole project fell through, but in either case, damn. The eight illustrations demonstrate how attuned these two sensibilities are: it\u2019s the marriage of one kind of darkness to another. Compare them to, say, <a href=\"http:\/\/www.modernlib.com\/Identifiers\/illustratedImageFolders\/bros%281st%29Images.html\">William Sharp\u2019s <em>Brothers K<\/em> illustrations<\/a> and the difference, the change in register, is immediate\u2014the black storm cloud of Neel\u2019s pen is well suited to Dostoyevsky\u2019s questions of God, reason, and doubt.<\/p>\n<p>She brings out the madness and comedy, too. People forget how funny Dostoyevsky can\u00a0be. Not Neel. She brings a manic bathos to these scenes that lends them both gravity and levity; in every wide, glassy pair of eyes, grave questions of moral certitude are undercut by the absurd. Some enterprising editorial assistant at Penguin Classics should see to it that a deluxe edition of <em>Brothers K<\/em> appears with these drawings posthaste.<\/p>\n<p><div id=\"attachment_82969\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/the-brothers-karamazov-2.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-82969\" class=\"wp-image-82969\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/the-brothers-karamazov-2.jpg\" alt=\"The-Brothers-Karamazov-2\" width=\"600\" height=\"869\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/the-brothers-karamazov-2.jpg 1000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/the-brothers-karamazov-2-207x300.jpg 207w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/the-brothers-karamazov-2-707x1024.jpg 707w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-82969\" class=\"wp-caption-text\"><i>Untitled (The Death of Father Zossima)<\/i>, ca. 1938, 14 \u00bc\u201d x 10\u201d. \u00a9 The Estate of Alice Neel. Courtesy David Zwirner, New York\/London.<\/p><\/div> <div id=\"attachment_82973\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/the-brothers-karamazov-3.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-82973\" class=\"wp-image-82973\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/the-brothers-karamazov-3.jpg\" alt=\"The-Brothers-Karamazov-3\" width=\"600\" height=\"877\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/the-brothers-karamazov-3.jpg 1000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/the-brothers-karamazov-3-205x300.jpg 205w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/the-brothers-karamazov-3-701x1024.jpg 701w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-82973\" class=\"wp-caption-text\"><i>Untitled (Grushenka and Mitya at the Drunken Party)<\/i>, ca. 1938, 14 \u00bc\u201d x 10\u201d. \u00a9 The Estate of Alice Neel. Courtesy David Zwirner, New York\/London.<\/p><\/div> <div id=\"attachment_82971\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/the-brothers-karamazov-4.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-82971\" class=\"wp-image-82971\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/the-brothers-karamazov-4.jpg\" alt=\"The-Brothers-Karamazov-4\" width=\"600\" height=\"857\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/the-brothers-karamazov-4.jpg 1000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/the-brothers-karamazov-4-210x300.jpg 210w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/the-brothers-karamazov-4-717x1024.jpg 717w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-82971\" class=\"wp-caption-text\"><i>Untitled (The Doctor\u2019s Visit to Ilyusha)<\/i>, ca. 1938, 14 \u00bc\u201d x 10\u201d. \u00a9 The Estate of Alice Neel. Courtesy David Zwirner, New York\/London.<\/p><\/div> <div id=\"attachment_82974\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/the-brothers-karamazov-5.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-82974\" class=\"wp-image-82974\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/the-brothers-karamazov-5.jpg\" alt=\"The-Brothers-Karamazov-5\" width=\"600\" height=\"883\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/the-brothers-karamazov-5.jpg 1000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/the-brothers-karamazov-5-204x300.jpg 204w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/the-brothers-karamazov-5-696x1024.jpg 696w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-82974\" class=\"wp-caption-text\"><i>Untitled (The Suicide of Smerdyakov)<\/i>, ca. 1938, 14 \u00bc\u201d x 10\u201d. \u00a9 The Estate of Alice Neel. Courtesy David Zwirner, New York\/London.<\/p><\/div> <div id=\"attachment_82975\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/the-brothers-karamazov-6.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-82975\" class=\"wp-image-82975\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/the-brothers-karamazov-6.jpg\" alt=\"The-Brothers-Karamazov-6\" width=\"600\" height=\"867\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/the-brothers-karamazov-6.jpg 1000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/the-brothers-karamazov-6-208x300.jpg 208w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/the-brothers-karamazov-6-709x1024.jpg 709w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-82975\" class=\"wp-caption-text\"><i>Untitled (Katerina\u2019s Testimony)<\/i>, ca. 1938, 14 \u00bc\u201d x 10\u201d. \u00a9 The Estate of Alice Neel. Courtesy David Zwirner, New York\/London.<\/p><\/div> <div id=\"attachment_82970\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/the-brothers-karamazov-7.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-82970\" class=\"wp-image-82970\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/the-brothers-karamazov-7.jpg\" alt=\"The-Brothers-Karamazov-7\" width=\"600\" height=\"866\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/the-brothers-karamazov-7.jpg 1000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/the-brothers-karamazov-7-208x300.jpg 208w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/the-brothers-karamazov-7-710x1024.jpg 710w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-82970\" class=\"wp-caption-text\"><i>Untitled (Ivan)<\/i>, ca. 1938, 14 \u00bc\u201d x 10\u201d. \u00a9 The Estate of Alice Neel. Courtesy David Zwirner, New York\/London.<\/p><\/div> <div id=\"attachment_82968\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/the-brothers-karamazov-8.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-82968\" class=\"wp-image-82968\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/the-brothers-karamazov-8.jpg\" alt=\"The-Brothers-Karamazov-8\" width=\"600\" height=\"884\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/the-brothers-karamazov-8.jpg 1000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/the-brothers-karamazov-8-204x300.jpg 204w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/02\/the-brothers-karamazov-8-695x1024.jpg 695w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-82968\" class=\"wp-caption-text\"><i>Untitled (Ivan\u2019s Dream)<\/i>, ca. 1938, 14 \u00bc\u201d x 10\u201d. \u00a9 The Estate of Alice Neel. Courtesy David Zwirner, New York\/London.<\/p><\/div><\/p>\n<p>\u00a0<em>Dan Piepenbring is the web editor of <\/em>The Paris Review.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Alice Neel, who died in 1984, is remembered best as a portraitist\u2014her paintings present friends, lovers, and other intimates with an astonishing, often forbidding guilelessness. Your average Neel portrait is penetrating, flip, scary, and more than a little funny, depending on how long you\u2019re willing to hold its subject\u2019s gaze. Neel\u2019s people all look to [&hellip;]<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2384],"tags":[1659,9241,7985,12976,17159,2783,16532,13134,7818],"class_list":["post-82967","post","type-post","status-publish","format-standard","hentry","category-look","tag-alice-neel","tag-artists","tag-david-zwirner","tag-drawings","tag-fyodor-dostoevsky","tag-illustrations","tag-russian-novels","tag-sketches","tag-the-brothers-karamazov"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Alice Neel\u2019s Unpublished Illustrations of \u201cThe Brothers Karamazov\u201d<\/title>\n<meta name=\"description\" content=\"Neel, known for her penetrating portraiture, drew eight scenes from Dostoevsky\u2019s famous 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