By Keith Christiansen
In 2004 the Metropolitan Museum received a very infrequent and gorgeous Madonna and baby by the good painter Duccio di Buoninsegna. Duccio, who died in 1318, has lengthy been famous because the father of Sienese portray, and he fostered a brand new iteration of proficient and cutting edge painters. In artwork background textbooks, although, his enormous contribution to ecu portray is usually overshadowed by way of the paintings of his modern Giotto. Christiansen examines the interesting connection among Giotto and Duccio, which he likens to Michelangelo’s dating with Raphael, or Picasso’s with Matisse, and explains the actual characteristics that make Duccio such a necessary artist.
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1950. 3 cm). Philadelphia Museum of Art. The slipperiness of identity became a playfield for the surrealist art dealer Julien Levy, who created a number of spoofing wanted posters in the early 1950s. His depiction of Marcel Duchamp (seen here) clearly pays homage to Duchamp’s Wanted: $2,000 Reward of 1923. , George W. Welch and Rrose Sélavy). Nodding to Duchamp’s ready adoption of alter egos and alluding to his own imitation of Duchamp’s work, Levy casts his friend as Edward Aloyisus Hannon, a forger sought by the law for impersonation.
11 Playacting with keen self-consciousness, he inscribed the drawing to his idol, the actress Julia Marlowe. Shinn was as obsessed with the theater as any artist of his day, but such self-presentations were hardly unusual. What everyone aimed for was “personality,” a word frequently evoked at the time, which had come to mean a colorful, original combination of attributes that attracted an audience. As Theodore Dreiser described it, old-time virtues, such as honesty, fairness, and intellect did not suffice; magnetism and vitality were also required.
Charles Darwin’s theories had emphasized genetic predisposition, further undercutting established notions of consciously directed moral character. One could no longer presume a static, fixed, externally evident character; identities became multiple, mutable, fractured, invented, or disguised. Portraiture, in response, at the turn of the twentieth century, had to negotiate dramatically new intellectual and artistic territory. 19 Gertrude Stein helped launch such experiments, evoking the inner essence of an individual through coded reference or emotional implication.