Word: artes
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Dates: during 1990-1999
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...basketball legend and Laker vice president Jerry West, who had complained about stress on the job pre-Rodman. West too appeared near tears, but it wasn't clear whether it was from firing his friend Harris or from sheer relief that Rodman, who uses his head as an evolving art project and wears enough facial rings to hang curtains, hadn't shown up wearing a dress. Yes, Rodman is right for L.A. But for the Lakers...
...older portraits have hardly lost their magic and their grip on the imagination. This is why "Portraits by Ingres: Image of an Epoch," which is on view (through April 25) at the National Gallery in London, and will be seen later this year at the National Gallery of Art in Washington and the Metropolitan Museum of Art in New York City, is such an invigorating show...
...subtitle fits. Almost from the time they left the easel, the portraits of Jean-Auguste-Dominique Ingres (1780-1867) were seen as being more than personal likenesses. They had a defining character. Ingres's period has coalesced around his art. In the first half of his life, when he was in Italy, the Mecca of the aspiring French painter, his pencil drawings caught the upper crust of foreigners there--the milords Anglais and their families on the Grand Tour, the French officials who ran Napoleon's kingdom in Italy, his fellow expatriate artists--with stylish brio and steely exactness...
...Pupil of David, history-painter." So he identified himself: heir to the Great Cham of French neoclassicism, Jacques-Louis David, and practitioner of the most exalted kind of art, the art that interpreted myth and history to an educated audience. (He never painted a still life and rarely did landscapes except as background to human figures.) But classicism means different things to different artists, and we need an idea of what it meant to him. It had very little to do with the rendition of abstractly idealized form, derived from Greco-Roman statuary. Other and lesser artists who had been...
Part of the power of Ingres's art lay in his ability to invest figures with a dignity and a power that verged on the sacral. He was one of the last artists to whom the rhetoric of grandeur seemed not only possible but desirable. Of course it had to be for a myth painter doing an Apotheosis of Homer. But Ingres brought it into portraiture, most notoriously with his over-the-top portrait of Napoleon (1806) in his imperial coronation robes, as frontal and opulent as a Byzantine god. So weird was this attempt at deification that even David...