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Mama, Don’t Let Your Babies Grow Up To Deny Evolution If adults want to deny evolution, sure. That’s fine. Whatever. But those adults better not make their kids follow in […]
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.
What would you do? Imagine you’re a politically conservative, devoutly religious art dealer fleeing your war-torn country when you suddenly see art radically unlike anything you’ve seen before. Do you stay the course or gamble on this next “big thing”? Now add the sudden death of your pregnant young wife, which leaves you with five children under the age of nine whose futures now depend entirely on your choices. Do you roll the dice with your life and theirs? If you’re Paul Durand-Ruel and that artist is Claude Monet, the original Impressionist, you don’t just make that bet; you go “all in” — staking your family’s fortunes to those of a family of revolutionary artists. The exhibition Discovering the Impressionists: Paul Durand-Ruel and the New Painting, currently at the Philadelphia Museum of Art, goes “all in” with Durand-Ruel’s gamble and pays off big with a stirring tale of personal courage and art history in the making.
Few American cultural institutions stared as deep into the yawning, austerity-driven abyss of large-scale deaccessioning as The Detroit Institute of Arts. When the City of Detroit declared bankruptcy in 2013, vulturous creditors circled the DIA’s collection, estimated worth (depending on the estimator) of $400 million to over $800 million. Some experts see signs of a Detroit comeback, however, but one very visible sign is the new DIA exhibition Diego Rivera and Frida Kahlo in Detroit, a showcase of the city’s ties to Mexican artists Frida Kahlo and Diego Rivera as well as a tribute to Kahlo’s and Rivera’s own artistic comebacks. Few exhibitions truly capture the spirit of a city at a critical moment in its history, but Diego Rivera and Frida Kahlo in Detroit is a show of comebacks that will have you coming back for more.