Lady Alene and the Widower (Taboo Fiction)

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Occasionally, it helps to have someone like Bryan Mark Taylor put his head out of the window and capture a moment before it is gone.

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Chances are we were born indoors, and we will probably die there, too. Much of life takes place inside: from the classroom where we learn to read to the church where we marry, onward to the house where we raise our children. Illustrated here is an array of recent interior scenes reflecting this age-old fascination.

Two are worth noting for different reasons. On July 2, , the artist Neil MacCormack made a deal with his wife: in their home they switched on several surveillance cameras that proceeded to record 7, stills depicting the couple going about daily life: sleeping, showering, eating, making love, working, lounging. Referring to the resulting frames, MacCormack created a series of small paintings and drawings, one of which is seen here. This is life indoors at its most banal, and also at its most intimate.

We were touched by a recent note from the artist Linda Cloonan, represented here by a luminous bedroom view. Last October, she learned that one of her watercolors, Alcove at Alcazar, was inside the Northern California home of Dr. Monica Minguillon when it was consumed by the massive Santa Rosa fire.

The scenes here range from cheery to melancholy because interior spaces truly have their own personalities. They reverberate with the people who occupy them, and often make us long to occupy them ourselves. GIANO b.

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Jane Peterson painting c. This winter we were delighted to visit Jane Peterson: At Home and Abroad, the first major retrospective in 45 years devoted to this once-renowned artist. Much credit goes to the Mattatuck Museum in Waterbury, Connecticut, where organizing curator Cynthia Roznoy gathered more than 85 works from lenders nationwide and published an impressive page catalogue.

That book opens with a touching preface by J. Jonathan Joseph, who produced the first biography of Peterson in The genesis of this long-overdue project is all too revealing. How, Burns wondered, could these have been created by the same artist? In the process, the Mattatuck even acquired two Peterson paintings for its collection. After graduation she taught art and cultivated a group of rich patrons who supported the travels that took her — unmarried, mind you — to England, France, Italy, Balkans, northern Africa, Turkey, and Egypt.

Curtailing her travels only because World War I got in the way, Peterson painted American scenes ranging from New York streets in neighborhoods poor and privileged and quaint harbors in Massachusetts to beach parties in Palm Beach and the Long Island gardens of her friend Louis Comfort Tiffany.

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There were also many images of women, usually seen in reverie or at the dressing table. In , aged 49, Peterson married a widower friend — an older man of means — and from then on, she could truly afford to paint what she liked, and travel where she wished. Terra Collection, Gloucester, c. This evolution reflects what was happening in early 20th-century modernism generally, offering a fresh vantage on an extraordinarily exciting period. Information: longislandmuseum. The catalogue can be ordered at mattmuseum. For the past two weeks, however, something had diverted attention from the unfriendly weather.

Among its many fine works, one stood out — the life-size likeness of a bearded man in his early 20s, dressed in lush brown velvet and a green wool coat with generous fur trimming Fig. Posed dramatically against the clear blue sky of the Upper Rhine Valley, there was something enigmatic about him, a self-possessed gravitas that, in turn, suggested a deeper meaning, a back story that transcended his attractiveness.

The second son of the famous sculptor Johann Gottfried Schadow — , the painter had first made his name as a member of the Brotherhood of St. Luke, which, since its founding in , had sought to reform contemporary art by re-enchanting it.

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Now, more than two decades later, Schadow was a powerful prince of painters. The First: Impossible! Their dialogue is revealing. Among the mounting challenges facing them was a relentless attack on the. Schadow himself had become an antiacademic rebel when he joined the Brotherhood of St. Luke in , a year after that fraternity left the forbidding climate of Vienna for the creative, if poverty-stricken, freedom of expatriate life in Rome.

In Paris, the rise of the so-called genre historique, which undermined the rules of rhetoric-based history painting by abandoning its focus on cathartic turning points, posed a major challenge to the academic system. Thus he could declare portraiture — rather than the male nude body acting out a narrative — as the foundation of all history painting.

From a young age, Schadow had excelled as a portraitist of the Prussian elite.

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Now, after a second sojourn in his beloved Italy in —31, he undertook what is perhaps his most intriguing attempt to elevate portraiture to historie without resorting to such pictorial conventions. The result was A Bearded Man, which he completed in The secret to its success was a bold, ingenious fusion of two seemingly contradictory strategies. Its visual impact derives from its subtle yet powerful juxtaposition of public with private spheres,. Standing almost uncomfortably close to the picture-plane, the two nephews of the Prussian king, Friedrich Wilhelm III, greet us as commanding figures; their poses convey royal stature as much as military prowess.

Here manliness mingles with courtly elegance: the princes grasp their swords as their uniforms sparkle seductively. This was rare with Schadow, who had not engaged in such overtly politicized portraiture for at least 20 years. The sensitive evocation of their inner landscape translates into love for the homeland. Their assertion of power is also one of loyalty, a pledge to care for the Rhineland. Friedrich Wilhelm Ludwig of Prussia, standing at the left immersed in his own thoughts, expressed this commitment through his groundbreaking effort in historic preservation: he purchased and then restored the castle visible at far left, Burg Rheinstein, which functions here almost as an attribute.

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This complex set of allusions and alliances remained in play when Schadow repeated this pictorial scheme in his Bearded Man two years later. At the left edge we glimpse the ruins of the once-magnificent stronghold, Burg Rolandseck, with its ivy-covered arch, and at right the Seven Mountains range with the Drachenfels hills. The portrait transcends the mere depiction of an individual, to offer a vision of a long-lost ideal that was about to be reconquered and revived.

It was the promise of rebirth, both artistic and political — a new golden era of German art born from the spirit of the Middle Ages, and with it, the birth of a unified German identity, of a Deutschtum Germanness at once anachronistic and forward-looking. Therefore, it seems neither surprising nor between genres. It is only this goal that might explain coincidental that a nobleman of the highest birth, Adolhis rather puzzling choice of model, Jacob Becker phus Frederick, 1st Duke of Cambridge and after — , the son of a tailor. The result of Alas, only the Prussian king, Friedrich Wilhelm their endeavor was a mammoth publication, less a III, remained skeptical.

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She authored way to imbue his subject with stately dignity. This reference Romantic Avant-Garde and the Art of the Concept , and she served as edito the past, through dress and posture, created a vague yet palpable torial consultant for the catalogue The Enchanted World of German Romantic sense of grandeur and tradition, and the fictive conversation of the Prints Examples include Dr. Johannes Cuspinian , Slg. The Leporello Panorama of the Rhine: View of the right and left bank of the on which he stands.

Vogel sic appeared in He believed landscape painting was the best medium for the presentation of profound ideas. He was the first really ambitious landscape painter in America. Howard Silberstein, It was dense in both population and pollution, and unemployment rose steeply among people whose work was being phased out by machinery. Setting aside his personal interests in poetry and music, Cole found a job in a cotton mill and later as a wood engraver.

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  5. There Cole began working as a portrait painter in before turning his attention to landscapes. The wilderness around him inspired the young man and became his primary subject. See his drawing From Nature illustrated here. Using his Hudson River sketches, he created three landscape paintings that were displayed in a bookshop window. These introduced a daring approach: a vision of the wilderness before European settlement. Clouds, c. A fine example, Clouds, is illustrated here. Though Cole gained much.

    Karolik for the M.

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    Karolik Collection of American Paintings, —, Cole spent eight months in Florence, studying the figure and sketching in the Tuscan countryside. Though best known for his finished landscape paintings in oils, Cole was an avid sketcher as well, ultimately producing thousands of sketches on various subjects during his lifetime. He then spent four months in Rome, visiting monuments of the classical and Renaissance past and painting outdoors. He returned to Florence for the summer of , painting Italian landscapes commissioned by affluent Americans he met there. There he melded his European perspective and longstanding passion for American wilderness to create two iconic projects: The Course of Empire series and The Oxbow are panoramic in effect, visualizing narratives that underscore the importance of ecology and sensitive development.

    Commissioned by the New York patron Luman Reed, The Course of Empire —36 is a five-canvas group chronicling the rise and fall of a classical state. Pastoralism is shown as the ideal state of civilization, contrasted strikingly with imperialism, which inevitably leads to gluttony and decay. Russell Sage, , They married at Cedar Grove in and ultimately had five children. Here we observe a man traveling on a river through the American wilderness.

    His journey represents the four stages of life: childhood, youth, manhood, and old age. Eager to experience Europe again, Cole returned to Rome to paint and exhibit —42 , this time including Sicily in his itinerary. Upon his return, Catskill became his base of operations, and he maintained his ties to the New York City art world largely through Durand.

    Lady Alene and the Widower (Taboo Fiction) Lady Alene and the Widower (Taboo Fiction)
    Lady Alene and the Widower (Taboo Fiction) Lady Alene and the Widower (Taboo Fiction)
    Lady Alene and the Widower (Taboo Fiction) Lady Alene and the Widower (Taboo Fiction)
    Lady Alene and the Widower (Taboo Fiction) Lady Alene and the Widower (Taboo Fiction)
    Lady Alene and the Widower (Taboo Fiction) Lady Alene and the Widower (Taboo Fiction)

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