Paul Durand-Ruel in his gallery in Paris, c1910. Photograph: Dornac/ AACV
“Wɖt hm, sd Mone, w wd’nt hv svîvd.
So ynivrsli popylr r ɖ Imprešnists tde, it’s hād t imajin a tîm ẇn ɖe wr’nt. Bt in ɖ ŕli 1870z ɖe strugld t b axptd. Šund bî ɖ ātistablišmnt, ɖe wr īvn lambastd az lūṇtcs bî wn critc.
Wn man, hvr, recgnîzd ɖer wrʈ fṛm ɖ bginñ. Pwl Dŭrã-Ruel, an ontṛpṛnŕı̣l ātdīlr fṛm Paris, dscuvrd ɖs grūp v yuñ ātists – includñ Mone, Degā, Mane, Renwā, Pīsaro n Sisle – n gambld.
Paul Durand-Ruel’s grand salon at Rue de Rome, with Renoir’s ‘Dance in the City’ on the left (Picture: Archives Durand-Ruel)
Riylîzñ ɖ fašnbl ptenšl v ɖer ḍrîdd imprešnz v ŕbn n sbŕbn lîf, Dŭrã-Ruel dedicetd ɖ rest v hiz lîf t bildñ an ōdı̣ns fr ɖer wrc – crietñ ɖ modn ātmācit in ɖ prôses.
Sč wz hiz prsviṛns, Dŭrã-Ruel nirli bancruptd hmslf twîs, bfr sxesfli glôblîzñ hiz oṗrešn wɖ âtposts in Lundn, Bruslz n Ny Ywc, n istablišñ ɖ wn-man šo az ɖ inṭnašnl nwm fr xbišnz.
Ɖ Imprešnists – a trm frst yzd ḍrogtvli bî critcs – wz t bcm ɖ hâshold nem ɖt standz tde.
Invntñ Imprešnizm fīčrz 85 mastrpìsz fṛm ɖ muvmnt, ol bt wn hvñ pást ʈru Dŭrã-Ruel’z handz, includñ ʈri v Renwā’z fems Dansz n fîv fṛm Mone’z Popḷrz siriz.”
The Sheepfold, Moonlight, 1856-60 by Jean-François Millet. Photograph: Alamy
Edouard Manet’s Boy with a Sword, 1861. Photograph: Alamy
Manet’s sketch for his 1882 work A Bar at the Folies-Bergère
Édouard Manet, Music in the Tuileries Gardens (1862) Photo: The National Gallery
Édouard Manet: The Battle of the U.S.S. “Kearsarge” and the C.S.S. “Alabama”, 1864
Claude Monet, The Thames below Westminster, about 1871. Oil on canvas. Picture: The National Gallery, London
The Artist’s Garden (detail), Monet, 1873 (Picture: Board of Trustees, National Gallery of Art, Washington DC)
The Ballet Class, Hilaire-Germain-Edgar Degas. Oil on canvas, about 1880. (Picture: Philadelphia Museum of Art)
Two Sisters (on the Terrace)’, 1881, by Pierre-Auguste Renoir
The daughters of Paul Durand-Ruel, Marie-Thérèse and Jeanne, Pierre-Auguste Renoir. Oil on canvas, 1882. (Picture: Chrysler Museum of Art, Norfolk, Virginia)
Pierre-Auguste Renoir, Dance in the Country, 1883, Oil on canvas (Picture: RMN-Grand Palais (musée d’Orsay) / Hervé Lewandowski)
Pierre-Auguste Renoir: Paul Durand-Ruel in 1910 (Archives Durand-Ruel)
Mary Cassatt: The Child’s Bath, 1893. Art Institute of Chicago
“A fngr pýzd on a camra – its ôpn bac rvilñ ɖ filmrol n mec̣nizm – sets ɖ sìn fr ɖs xibišn v fôtgrafs abt ftogṛfi. Smẇr btwn a filmdrctr, a picčreditr n an āthistwrı̣n, Americn ātist Crisṭfr Wiłmz (b.1956) invstigets ftogṛfi az ɖ dfînñ mīdı̣m v moḍnizm.
Wiłmz’ xqizit prints rvil ɖ unxpctd byti n culčṛl reznns v cmršl, industrı̣l n instruẋnl ftogṛfi. Ofn wrcñ wɖ setdzînrz, modlz n tecnišnz, Wiłmz’ tecnicli prisîs picčrz rcwl Cold Wor ira imijri n 1960z advtîzñ, az wel az invocñ histriz v āt, ftogṛfi n siṇma. Hiz fôtgrafs r eḷmnts at ple in a ljr sistm includñ ācitecčr, xibišndzîn, bcs, pôstrz, vidioz, vitrīnz n sînij ɖt invstigets ɖ stêjsets v ɖ ātwrld n ɖ publisti strucčrz on ẇč ɖe rlî.
Fṛm hiz rnând 1989 studiz v btanicl spesimnz, Angola t Vietnam, t ɖ hîpŗiyl, culr-sačretd studiz v cičnwér md in 2014, ɖs frst srve v Wiłmz’ wrc in ɖ YC imrsz s in vižli inʈrwlñ n ṗlitcli reznnt lînz v inqîri.”
Standardpose [Standard Pose]
Bergische Bauernscheune
Clockwise from Manufacturer Name (Outer Ring)
Erratum by Christopher Williams. Photograph: Courtesy of David Zwirner, New York/ London and Galerie Gisela Capitain, Cologne
Fig. 2: Loading the film, 2012. Photograph: courtesy Galerie Gisela Capitain, Cologne; and David Zwirner, New York/London
Untitled (Study in Gray)
Mustafa Kinte (Gambia), Camera: Makina 67 506347 … Dirk Schaper Studio, Berlin, July 20, 2007 2008 Private Collection, London Image courtesy Galerie Gisela Capitain, Cologne and David Zwirner, New York/London
“Cn y tel ɖ dfṛns btwn an Old Mastr pêntñ n a cntmprri replica?
Wrcñ wɖ cnspčl ātist Dug Fišbôn w r incurijñ y t têc a clôsr lc at âr Prmnnt C̣lẋn. Wn v âr wrcs hz bn rplest bî a replic̣pêntñ swst fṛm an ātists’ wrcšop in Čîna n huñ in ɖ frem ḅloññ t ɖ orijinl. Fr ʈri munʈs ɖ îdntti v ɖ wrc wl rmen cnsild. Test yr dsrnñ î n tel s ẇč pêntñ y ʈnc it z.
Mni Old Mastr pêntrz, fṛm Tišn t Rūbnz, incurijd ɖ copiyñ v ɖer wrc îɖr in ɖer wrcšops bî aprntisz or bî indipndnt copiists. Ɖr r svṛl xamplz in Dulij’z c̣lẋn, includñ wcšop pêntñz sč az Vīṇs n Adonis n copiz pêntd fṛm ɖ orijinl bî ātists vizitñ ɖ Gaḷri, sč az Cunstbl’z copi v Rîzdel’z Windmilz. Tde, fems pêntñz r biyñ rpṛdyst in ɖ miłnz, wɖ Čîna dominetñ ɖs xpwtmācit.
Fr ʈri munʈs (10 Febrri – 26 Êpṛl) y r invîtd t fînd ɖ replicetd pêntñ, ẇč hañz in plês v ɖ orijinl in ɖ prmnnt dsple v 270 wrcs. Winñ ansrz wl b entrd intu a drw t win wn v fîv print-on-dmand rīpṛduẋnz v čozn wrcs in ɖ Gaḷri’z c̣lẋn. Ɖ ansr wl b rvild on 28 Êpṛl, ẇn orijinl n replica wl hañ sîd bî sîd. Cm n cmper ɖ tu.
Photo: Robert Sanderson
Photo: Stuart Leech
Photograph: Carl Court/Getty
Côkretd bî cnsepčl ātist Dug Fišbôn n Dr Zêvı̣r Bre, Āturo n Holi Melosi, Čīf Kretr at ɖ Gaḷri.
…”
“The US conceptual artist Doug Fishbone at Dulwich Picture Gallery. ‘My hope is that people will come here and really drink in the paintings,’ he says. Photograph: Carl Court/Getty”
Marble statue of a discus-thrower (discobolus) by Myron. Roman copy of a bronze Greek original of the 5th century BC.
(Posted 13 April 2015. The text is in an older version of Ñspel.)
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“Xpirı̣ns ɖ briłns n dvrṣti v ênčnt Grīc āt in ɖs mêjr xibišn foc̣sñ on ɖ hymn bodi.
Fr senčriz ɖ ênčnt Grīcs xperimentd wɖ wez v reprizntñ ɖ hymn bodi, bʈ az an objct v byti n a berr v mīnñ.
Ɖ rmāc̣bl wrcs v āt in ɖ xibišn renj fṛm abstract simpliṣti v prīhistoric fiğrīnz t breʈtêkñ riylizm in ɖ êj v Alixandr ɖ Grt. Ɖz wrcs cntinyd t inspîr ātists fr hundṛdz v yirz, gvñ fwm t ʈt n šêpñ âr ôn pspšnz v ârslvz.
Ɖ čīf fwmz v byti r ōdr, siṃtri n clir dliniešn. (Aristotl)
In pwtreyñ îdiyl tîps v byti… y brñ tgɖr fṛm mni modlz ɖ most bytifl fīčrz v č (Socṛtīz)”
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A marble relief from the north frieze of the Parthenon shows the procession of the Panathenaic festival, the commemoration of the birthday of the goddess Athena (438-432BC).
Bronze statuette showing the suicide of Ajax. Greece, 720-700BC
Marble metope from the Parthenon shows the battle between Centaurs and Lapiths at the marriage-feast of Peirithoos (438-432BC)
Marble statue of a naked Aphrodite crouching at her bath, also known as Lely’s Venus. Roman copy of a Greek original (AD2).
The Elgin Marbles
Apoxyomenos (detail of head; Hellenistic or Roman replica after a bronze original from the second quarter or the end of the 4th century BC)
Marble statuette of Socrates (a Hellenistic original of the 2nd century BC, or a Roman copy, Alexandria, Egypt).
Train Landscape, 1940. Photograph: Aberdeen Art Gallery & Museums Collections
Hurricane in Flight, c1942.
“…a jý fṛm stāt t finiš (Ɖ Teḷgraf)
…ɖ Sŭrā v Susx” Lwra Cumñ (Ɖ Obzrvr)
Fṛm ɖ stāt w si an ātist fîndñ jý in ɖ unxpctd (Nansi Duṛnt, Ɖ Tîmz)
Ɖ frst mêjr xibišn t srve wōtrculrz bî seḷbretd Britiš ātist Eric Rviłs (1903–42). Wel nôn fr hiz îconic wrc fr Wejwŭd, Rviłs z wîdli cnsidrd wn v ɖ ci figrz in mid-20ʈ senčri Britiš dzîn, bt h wz olso wn v ɖ fînist wōtrcuḷrists v ɖ senčri.
Hiz astonišñli pṛlific c̣rir spand pīs n wor. Wɖ ɖ âtbrec v Wrldwor II, Rviłs wz asînd t ɖ Royl Nêvi az wn v ɖ frst Ofišl Worātists, fîndñ ny wez t capčr n prizrv ɖ flītñ recwd v pasñ tîm.
Ovr 80 wōtrculrz wl b on dsple – includñ fems wrcs lîc Trênlandscep n Westbri Hws, az wel az rerli sīn wrcs fṛm prîvt c̣lẋnz pṛvîdñ an inspîrñ lc at hiz wrc btwn ɖ mid-1920z n hiz deʈ in 1942. Sd t b inspîrd bî ɖ filmz v Alfrid Hičcoc, Rviłs’z imijz rerli cnten figrz n yt hiz šadôi intirı̣rz n strenj pspctvz ofn criet a sens v hymn prezns.
Olɖo h dîd at ɖ êj v onli 39, Rviłs wz ljli rsponsbl fr ɖ rvîvl v Ñgliš wōtrculrpêntñ. H stātd ât undr ɖ tyṭlij v Pwl Naš at ɖ Royl Colij v Āt n, olɖo h wz hyjli vrṣtîl, it wz pêntñ ɖt Rviłs sw az hiz tru vcešn; it wz ɖs wrc ɖt h xibitd, n h cerd dīpli abt its rspšn bî felo ātists lîc Mur n Jon Pîpr.
Ɖ xibišn z kretd bî Jêmz Rusl, a līdñ spešlist on Eric Rviłs, huz bcs on ɖ ātist includ ɖ popylr siriz Rviłs in Picčrs (2009-12).”
Sir Francis Chantrey: Queen Victoria, 1838 – 1841. Royal Collection Trust
“Pârfl, bytifl n invntv, ɖ Victorı̣n ira wz a goldn êj fr sculpčr. Têt Britn’z xibišn Sculpčr Victorı̣s seḷbrets sm v ɖ most astonišñ n laviš wrcs pṛdyst in ɖs grândbrêcñ pirı̣d.
Xplorñ ɖ orijinl tecnīcs n mtirı̣lz dveḷpt jrñ ɖs tîm, ɖ xibišn brñz t lît ɖ injňwti n crı̣tiṿti v ɖ Victorı̣n êj. In a pirı̣d v unpaṛleld iṇvešn acrs inḍstriz, Victorı̣n sculpčr profitd fṛm grândbrêcñ ny mtirı̣lz n meʈdz ɖt crietd a ʈrilñ n cutñ-ej invîrnmnt fr Victorı̣n sculptrz.
Ɖ xibišn includz mni xtrōdnri objcts, fṛm magnifisnt mābl, lîmwŭd n ṣramic sculpčr šôn at ɖ Grt Xibišnz, t xqizit jlri n silvrwrc, n ōnet cāvñ v byti n wundr sč az Monti’z Veild Vestl. Wrcs fṛm ɖ xibišn tuč on ol aspcts v Victorı̣n lîf, xplorñ dmestc poḷtcs, ɖ rīč v ɖ empîr, n ɖ impact v ɖ sạntific n industrı̣l êj.
Rvird wrcs sč az Fredric Lêtn’z An Aʈlīt Reslñ wɖ a Pîʈn n Hîṛm Pârz’z Ɖ Grīc Slev r t b injýd alñsd lsr-nôn ātists sč az Mẹri Wots n Wiłm Renldz-Stīvnz. Az wel az ofrñ an oṗtyṇti t xplor sm v ɖ Victorı̣n ira’z most čerišt n grândbrêcñ wrcs, Sculpčr Victorı̣s pṛvîdz an in-depʈ xpḷrešn v ɖ ātistc n historicl dveḷpmnts v wn v Britn’z most pṛlific iṛz n z a fīst fr ɖ îz.”