Good (not great) Artists and the Origin of Modern Art and Art Criticism
"Braque, for all his extraordinary abilities, needed Cubism in order to enter the modern canon, as Pissarro needed Impressionism."
In this week's New Yorker, Peter Schjeldahl reviews the Cezanne and Pissarro exhibit at the MOMA, often comparing it to the Braques and Picasso exhibit of 1989-90 (which, though I couldn't of seen, since my first trip to NYC was in 1993, seems so familiar it's like I was there). His review is interesting, often referring to the talent gap between Cezanne and Pissarro...also mentioning how difficult it can be to look at Cezanne's work. And that modern art critic's long-standing approval for art that is unpopular with the public has roots in the art climate of 1860s France...the days of the Salon des Refuses and a public unwelcoming to the same artists that are so accepted today that they seem played out (Monet's Water Lilies coffee mug, anyone?).
In this week's New Yorker, Peter Schjeldahl reviews the Cezanne and Pissarro exhibit at the MOMA, often comparing it to the Braques and Picasso exhibit of 1989-90 (which, though I couldn't of seen, since my first trip to NYC was in 1993, seems so familiar it's like I was there). His review is interesting, often referring to the talent gap between Cezanne and Pissarro...also mentioning how difficult it can be to look at Cezanne's work. And that modern art critic's long-standing approval for art that is unpopular with the public has roots in the art climate of 1860s France...the days of the Salon des Refuses and a public unwelcoming to the same artists that are so accepted today that they seem played out (Monet's Water Lilies coffee mug, anyone?).
posted by Kit Pollard at
12:41 PM
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