Can a Museum for ‘Progressive Artists’ Have an Arms-Manufacturer Vice-Chairman?
Pierre Bonnard’s revolutionary and controversial use of color became a means toward unlocking his past and the truths of his own self. But what if, ultimately, there was nothing to find? For years, Pierre Bonnard juggled the love of two of his models. The women were Marthe de Méligny, who would eventually become the artist’s wife, and Renée Monchaty, who would kill herself in spurned grief. In Young Women in the Garden, Bonnard painted them both. They are in a bourgeois backyard garden, like something out of a Renoir or Manet, at a large table adorned with a basket of fruit. Monchaty is the focal point of the scene. She sits in a chair, turned toward the viewer; her head rests innocently in her hand. She appears contented, at ease. In the bottom corner of the scene, looking not at the viewer but toward Monchaty, De Méligny looks quietly bemused, her profile nearly cut out of the frame. Bonnard ultimately left Monchaty for De Méligny. Sensing that his marriage to De Méligny was imminent, and that …
Egon Schiele, whose centenary is being celebrated at museums across the world, presents a unique lens through which to think about the line between art and exploitation.
Mr. Anderson and his partner, Juman Malouf, were given free rein in Austria’s largest museum. But you can’t make an exhibition as you would a movie.
Is it only within the context of romantic unrest that the best art can be made?
Artist Trevor Paglen’s plan to launch a sculpture into orbit has drawn criticism from certain astronomers, but are they missing the point?
Should art be about depicting or creating an experience?