Intermission, part 10
The narrative began with Act 1, scene 1 on April 10, 2013.
To access all scenes, scroll to blog archive at the bottom of the page.
This intermission attempts to track the connected artistic 'lineage' of some influential painters, from the early 15th century to the present. To follow this thread and to see all images mentioned,
go back to part 1 of this intermission.
This intermission attempts to track the connected artistic 'lineage' of some influential painters, from the early 15th century to the present. To follow this thread and to see all images mentioned,
go back to part 1 of this intermission.
Below is a list of artists I have mentioned to date in this blog (and roughly arranged in chronological order) as belonging together in a long line of teacher-to-student influence, either in face-to-face exchanges between the artists, or more indirectly when one artist learned through the work of another he strongly admired:
Tiziano Vecelli (Titian)
Edouard Manet
The glaring omission of women artists might, up to this point at least, be excused due to the unfortunate historical male chauvinism of western societies. However, since the late 19th century, women are increasingly successful in staking out artistic turf, which after all is the turf of authentic expression, rather than of the sex of the artist. The subject of artistic endeavour might be sex or politics or psychology – an artist will explore the issues that interest him or her – but great art is about the artist; the subject of art is secondary.
Newkirk sits staring at his computer screen, at the list he has just created and the pathetic apologia he has composed. A door slams. Breathless and muttering angrily, a woman charges uninvited into the room.
Loretta (shouting)
WAIT A MINUTE, WAIT A MINUTE!
Newkirk (clearly bewildered)
Cher? Whuh ... ?
Loretta (really steamed)
French? You wanna get fancy, talk Italian. Intermission's over, buster.
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Historically accurate anecdotes are especially welcome.