Skip to content

Search Results

You searched for: marie story

In an attempt to be original, to stand out amongst the almost 300 million other selfies on Instagram, we actually fade into the background. We become mundane. Photos are no longer about remembering an event; they’re about displaying. They’re about showing the world who we are, who we wish to be. And it’s damaging our ability to remember.
Artists aren’t easy people to be around sometimes. Genius and jerk often walk hand in hand. They may suffer for their art, but those who support them often become collateral damage in the quest for immortality. Making a biopic of any artist and balancing the good with the bad seems an almost impossible task. Making a biopic of Pablo Picasso, a classic case study of the genius-as-jerk, that praises the painting while honestly assessing the collateral damage to women has never satisfactorily been filmed.  But where cinema fails, maybe the cinematic graphic novel can succeed.  The graphic novel Pablo, written by Julie Birmant and illustrated by Clément Oubrerie, is the best “film” ever made about one of the founding fathers of modern art — a portrait of intertwined genius and jerk that never loses sight of either side.
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.
Half a millennium later, you would think the Italian Renaissance could hold no more secrets from us, no “codes” to decipher. And, yet, secrets hiding in plain sight continue to startle modern audiences with the depth and breadth of that amazing era. One of the well-kept secrets, at least until now, was the work of Piero di Cosimo, subject of his first major retrospective, Piero di Cosimo: The Poetry of Painting in Renaissance Florence at the National Gallery of Art, Washington, DC.  Called “a madman” for his personal and artistic quirks by Renaissance chronicler Giorgio Vasari, Piero’s ability to paint in multiple genres all with a dizzying amount of detail may have seemed madness to contemporaries, but appeals to modern audiences conditioned for such visual assaults. There may have been a method to Piero di Cosimo’s madness after all.
Lessons from the Universe whenever a light goes out. “End? No, the journey doesn’t end here. Death is just another path, one that we all must take. The grey rain-curtain […]
Your first philosophers: Marcus Aurelius, Epictetus, Seneca, and one strange new face. Why the first books people read about Stoicism should be by one of these guys. On Stoicism Graduation season […]
Like the rest of the country, feminism has undergone one percent-ification.  The most discussed books on women’s lives speak to privileged women while usually assuming, if only by default, to […]
Recent examples from major media outlets targeting harmless individuals demonstrates a major ethical failing – as compassionate persons and responsible writers, commanding a platform. This doesn’t mean writers must never […]
Women have come a long way in the arts, but there’s still a long way to go. It’s not so unusual to find the work of contemporary women artists in […]