Word: artfulness
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Dates: during 1990-1999
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Maybe it's not such a surprise. The standard version of modern art history--the story that moves through the Impressionists and Cezanne to Cubism, and from there through ever greater reaches of stylization, psychic turmoil and abstraction--has been under pressure for years to admit developments that can't be legitimized under that model. The creamy maidens of Victorian genre painting, "outsider art" by the mentally ill, hard-to-categorize painters like Jacob Lawrence and Florine Stettheimer--all of them have been tried out on museum walls. It was only a matter of time before attention turned back...
...closet fans all along. Anytime the higher echelons of the culture industry set out to show how they're in touch with ordinary folks, they risk sounding like George Will when he writes about baseball. But this exhibit is an indicator of a real impulse in the art world lately to find vitality wherever it's to be found, now that the energies that moved modernism have long ago run aground. Perhaps for the first time in history, it's truly possible to ask an essential question: Can you take seriously an artist who illustrated 50 years...
...admit to Rockwell's ingenuity. What the original canvases for those covers make plain is that he was a painter of great if anachronistic gifts. He carried into the 20th century the ancient pleasures of visual storytelling and fine-grained description. These happen to be the same enjoyments that art has largely turned over to photography, movies and television, none of which can offer back the visual world with anything like the mouth-watering delights of paint...
...time he died, in 1978, Rockwell occupied a place somewhere between Vermeer and Disney, a hard spot to locate, much less evaluate. But whatever else he was, Rockwell was the road not traveled. You go through this show wondering what 20th century art might have been like if it had not been so quick to put aside anecdote, draftsmanship and the raptures of watching paint do its dead-on imitations of other stuff. In short, what it might have been like if it valued more what Rockwell did. Given the essential places where painting had to go, places where Rockwell...
...plague and stolid bourgeois comfort. A galvanic force--ambitious, hugely inventive, avaricious--he is the portraitist of the poshest plutocrats, nobly aglitter, and the allegorist of human wreckage. Schama's book is a marvel of storytelling: sometimes heart pounding, always sympathetic and coolly reasoned. Seamlessly joining social history and art, what a triumph of scholarship and imagination...