Word: manet
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Dates: during 1990-1999
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Losing as a means of winning has some antecedents. When the Paris art establishment declined to let the Impressionists into their annual show in 1863, they got their own Salon des Refuses, and as a result the losers, including Manet, Whistler and Pisarro, are somewhat more familiar names today than such winners as Gleyre and Couture. Then there was, of course, the good luck of Germany and Japan to lose their war against the U.S., which enabled both to enjoy a half-century run of knock-'em-dead economic robustness under American military protection. (Foolishly, Vietnam won its war against...
...function in a manner not unlike the vacuum cleaners," which is true, though not perhaps as meant. The text compares the "shocking" character of Made in Heaven to other once shocking works of the past, such as Courbet's Burial at Ornans, Matisse's Woman with the Hat and Manet's Olympia. And yet it adds, "All this is not to say that Koons' art is equivalent to the greatest work of Manet or Matisse, or that of Jackson Pollock . . ." What a failure of nerve! How can such slurs be left hanging in the air? At least the curator might...
...works in the show deal with one of these two themes. Another notable piece is "Last Seen," Sophie Calle's photograph of the wall space where Manet's "Chez Tortoni" used to hang before disappearing from the Isabella Stewart Gardner Museum in the largest art theft in recent history. Next to this photograph is a framed text of commentary on the work by employees at the Gardner...
...this dead form of entertainment are done with fine straightforwardness: The Lion Comique, 1887 (patter singers in white tie were known as "lions" or "mammoths" in the stage argot of the day), with his baggy tails and painted backdrop of a lake, is seen as precisely as any Manet...
...found with her throat cut in a rented room in Camden Town. This killing, close to Sickert's London lodgings, gave him a subject. Through 1908-09, he painted a series of harsh, dark images of a naked woman on a bed and a clothed man -- shades of Manet's Dejeuner! -- glaring down at her. In L'Affaire de Camden Town, 1909, she seems to be alive but cowering from him; with its sexual frankness (disconcerting to taste in 1909), heavy claustrophobic patterning and leaden light, it is a sinister painting, like a Vuillard whose domestic narrative has gone wrong...