Re: Royal Engagement

by dagwead (06.12.10 10:22 pm)

It's a good thing you are paying attention to the art!

Re: Royal Engagement

by dagwead (06.13.10 09:28 am)

After an astounding first visit to the Delaware Art Museum in Wilmington, which houses the strongest collection of Pre-Raphaelite art outside the Kingdom, and some choice Benjamin Wests—pre and post training (from his folksy American self-taughts to a great narrative one, accomplished, depicting some blind guy, a chick about to feed him fish gall, and yes, an angel tending to this scene, whose style of painting vary within the work itself). It's such an interesting thing to discover his role in the beginnings of Royal College, and its up-from-Shakespeare initial interests in narrative painting, royal scenes, Greek scenes and the like. Besides the P-R's, Delaware's Museum is entirely American. A beautifully put-together collection—a Pippin next to a Hoffmann, a strong sense of multiculturalism. As a marginally rabble-rousing upstart populist, perhaps, I begin to appreciate this role of philanthopy, in terms of the opportunity for one to see such work. Having really started to appreciate art through art photography and the irruption of modern art in New York, I am grateful for these views of art history, through the lens of Pennsylvania Academy and Delaware Art Museum, by rounding out a sense of narrative, larger stories which include Royal College, beyond any one moment in the history of art in New York. London and American painting, Paris and New York painting (not to imply New York isn't American, but it isn't European). I guess Mondrian was really the first New York painter...the Francophone of Jazz from New Orleans to Harlem and on and on—that song as the backdrop, to tell stories without being able to speak the truth, rather than other interesting narrative and landscape techniques. The two go hand in hand.

In a different bracket, had a professor who was into the Pre-Raphaelites and William Morris, who also taught an amazing undergraduate literature class called Concepts of the Modern—Stein, Pound, on through Genet (starting with Lautremont). Focusing more on Pound's pedagogical stratagems, such as The ABC's of Reading, and critical interruptions, such as Andreas Huyssen's After the Great Divide. The Textual Condition—Jerome McGann.