I appreciate everyone's contribution so far in the insightful discussion respectful and far-reaching. Although Gérôme was certainly loved by his students, his critical reputation has indeed taken a particularly heavy hit in the last hundred years because of the position it has taken against the Manet and Caillebotte legacy. Even in his day, he was suffering from slings and arrows, which may explain the bitter edge of his attitude towards criticism. I do not want my previous blog to suggest that I necessarily share the sentiments of Gérôme about art critics . most of the people I met are remarkably open-minded, knowledgeable and articulate. They have their likes and dislikes, of course, but they do not take orders from anyone in matters of taste. Let's face it: art criticism today a difficult undertaking. It's like walking in a minefield, because matters of taste can be so controversial and polarized.
In the field of classical music, in contrast, most performers have to develop the skills necessary to perform the entire repertoire. As a result, most music directors, conductors, artists and critics have familiarity practiced with great way to make music, from Palestrina to Schoenberg. The magnitude of exposure helps to mute the controversy.
In the visual field, the term "Art" was so Discombobulated that could mean just about anything. (Yet he often leaves out so many things, such as comics, animation and illustration.) Our contemporary culture just does not universally shared values on the subject, over a century and a half previously.
So what is an art critic to do? How can you criticize if there is no generally accepted standards? Is it possible or desirable aesthetic relativism? What sort of negative criticism is the most useful?
I would be interested in your opinion. I would say that the work of art criticism is to encourage us to look closely at something outside our normal range of vision, something we would be inclined to reject at first sight. The criticism should be wary of leveling lance artist, he or she does not like, unless there is at least some sympathy for the purpose of the artist, an overview of the technical processes, or sharp satirical gift . Someone said: "The best cure for bad art is good art" To which I add: ".. The second best cure for bad art is to ignore "
This is why I think the review of Christopher Knight below what he could have done. By merely denigrate Gérôme, Chevalier granted her outsider status and made him stronger. he did not offer new opportunities to those who were inclined to appreciate Gérôme. I would rather have read a review of Gérôme hard by an accomplished realist painter who began with more sympathy for the fundamental approach of Gérôme.
to that end, allow me to recommend art blogs that do a good job of attracting attention and insight to all kinds of art, although most authors would not themselves critics consider.
Underpaintings Matthew Innis. good roundup exhibitions of the current museum.
Illustration Art by David Apatoff. Currently a debate fascinating (with 162 comments) on the use of photography.
The lines and colors by Charley Parker.
Life in the studio with Jay Fullmer Survey and bios of artists in many fields .. A new blog, which started with a post on photography in museums for specific colors (the Jay image above). Art and influenced by Armand Cabrera. Profiles of past masters, recommendations on business and contemporary work methods.
Roman Bearded Micah Christensen. profound ideas in academic masters
Howard Pyle's blog Ian Schoenherr. A passionate collector of Pyle papers and expert on his life.
Stapleton Kearns wide ranging ideas from painting a landscape master.
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GJ Post "The Critics of Gerome"
The LA Times review of Gérôme exhibition at the Getty Museum. Read down to the comments below, where Christopher Knight retorted: "[French] University looked at the Royal Academy for approval modern artists turned to themselves and their cohorts for approval and Gerome, having neither Academy or new artists on its side facing the public, who liked what they saw. "Huh?
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the LA Times critic Christopher Knight (aka" Monster Culture ") launches a new attack on Gerome in" The Strangest Roomful of Art in Los Angeles Right Now "
