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The standard line against painter John Singer Sargent goes like this: a very good painter of incredible technique, but little substance who flattered the rich and famous with decadently beautiful portraiture — a Victorian Andrea del Sarto of sorts whose reach rarely exceeded his considerable artistic grasp. A new exhibition of Sargent’s work and the accompanying catalogues argue that he was much more than a painter of pretty faces. Instead, the exhibition Sargent: Portraits of Artists and Friends and catalogues challenge us to see Sargent’s omnivorous mind, which swallowed up nascent modernist movements not just in painting, but also in literature, music, and theater. Sargent the omnivore’s dilemma thus lies in being too many things at once and tasking us to multitask with him.
“Regrets, I’ve had a few,” Frank Sinatra warbled in “My Way,” before adding wistfully, “But, then again, too few to mention.” Sinatra sang that song at the end of a […]
When arrested in 1936 during a protest over the dismissal of 500 artists from the WPAFederal Art Project, Lee Krasner told the unsuspecting police officer processing her that her name […]
model a grassroots health system based on the convenience of the fast-food system. Address all problems of all visitors to convenient clinics, starting with the most basic checks and assessments. Let unsolved health issues go up the ladder to the more comprehensive and expensive care. I hope the big boys can hear me. Thanks, John Lee