When Bazille’s Family Reunion was accepted by the Salon in 1869, he said it was probably admitted “by mistake.”
Yeah, no offense Baz, but SHEESH, this is the most rigid set of family members I have ever seen in a composition.
I will say that I witness a similar scene in just about every room I enter, but not in that “hey, glad you’re here!” kinda way…more like the, “yeah, we’ve been talking ’boutchu” kinda way.
I seriously imagine that this is a pretty common child-rearing situation, where you just want to lay down with your tea in bed and there’s an alert, upright baby in the way.
Claude Monet’s Women in the Garden nearly stopped me in my tracks at the National Gallery this past weekend. Holy moly, this work is sensational on so many levels.
WITG was painted in 1866. All of the women in the work were modeled by his partnere Camille. Monet submitted the work for the 1867 Salon exhibition, where it was rejected. Apparently, Salon critics were SUPER AGAINST its abundance of visible brushstrokes and lack of narrative: One juror even said:
“Too many young people think of nothing but continuing in this abominable direction. It is high time to protect them and save art!”
Reminds me of that moment in SATC:
I get it. Monet was like, 26, at the time… ¯\_(ツ)_/¯
With its rejection, Monet turned to his friend Bazille who purchased the work for 2,500 francs (approx. $3M today), to be paid in installments. Scholarship suggests he was inspired by such a large work that he created his own, The Family Reunion, below.
Thoughhhh this work is creepy enough to deserve its own post later this week.
I really tried to go to 6am spin, but I hit snooze this monster was on top of me.
HOW DEPRESSING AND VAGUE IS HOPPER’S Cape Cod Evening?!
LIKE, WTF IS EVEN HAPPENING.
WHO ARE THESE PEOPLE?
WHAT’S IN THE GRASS??
When I realize to-do list became my to-don’t list because I choose champagne on a weeknight instead of a good night’s sleep.
The Dresden Triptych was painted by Jan van Eyck in 1437, and was assumed to be part of the Giustiniani collection in the late fifteenth century (not related to my favorite art collector, Vincenzo, who owned some pretty prominent Caravaggio works. We don’t know the original donor, but since scholarship has proven that the coat of arms on the interior panels was that of the Giustiniani of Genoa family, we can go ahead and assume they were at once in possession of the work.
I mean, to be it’s like the Baroque equivalent of scratching your name into your desk in high school.
arthipstory 