Word: whistler
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...Tinterow and the French art historian Henri Loyrette, chief curator of the Musee d'Orsay in Paris, it has drawn in an astonishing number of major works -- nearly 30 Manets; more than that number of Monets; and work by a whole gamut of artists from Renoir to Cezanne and Whistler, from Frederic Bazille to academicians like Jean-Leon Gerome and even William Bouguereau. It focuses on the early years of the movement, the 1860s, before "New Painting" became controversial with the first Impressionist exhibition of 1874. It asks, What formed Manet, Monet, Degas, Renoir and the rest; what ambitions coalesced...
...careers of struggling artists, many of whom she befriended and supported financially, either collecting works for herself or donating them to other museum. The artists indicated their gratitude by their fascination with her as a portrait subject and in the things they wrote to and about her. James McNeil Whistler described her in am inscription on a piece he gave her as a person "whose appreciation of the work of art is only equaled by her understanding of the artist." Although buying the work of up-and-coming artists probably seemed risky, Gardner had the finances and the gumption...
...show begins with James Abbott McNeil Whistler's painting, Nocturne in Black and Gold: Rag Shop, Chelsea (c. 1848) He explores the effects of shadow and light, outlining a little girl's illuminated white dress in a dimly lit storefront which encloses her in a veil of darkness. The only representational painting in the exhibit, it anchors the efforts of the later painters in their exploration of tonality in the continuum of degrees of abstraction...
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...
...Just as Whistler honed Sickert's taste for art-world polemics and politics, so his long association with Degas steered him away from being a provincial Impressionist, grazing on first sensations. Construct in the studio, do studies, mistrust "the tyranny of nature." And if you want narrative, why not have it? The world, especially the city -- for Sickert was an intensely urban painter -- was crammed with narratives, and like Degas, Sickert found his in closed rooms and places of popular entertainment. For Degas's cafes concerts, Sickert substituted the British music hall, then at its apex of rowdy success...