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ArtJune 1999 Exhibition note by Mario Naves On The Museum as Muse: Artists Reflect, at the Museum of Modern Art, New York The last artist viewers encounter on exiting the exhibition “The Museum as Muse: Artists Reflect” is the eighteenth-century French painter Hubert Robert (1733–1808). During his lifetime, Robert achieved renown for his paintings of architectural ruins, a niche in which he displayed an academician’s proficiency and a modicum of melodrama. His lasting influence in the arts was not as a painter, however, but as Garde du Musoeum of the Louvre. Helping to shape, inventory, and install the museum’s collection, Robert took an operative role in the establishment of the Louvre as a public institution. (Robert even made the museum his home for a time.) His Imaginary View of the Grand Galerie in Ruins (1796) is a portrayal of the Louvre centuries hence. This picture of physical and cultural devastation, complete with eminent works of sculpture scattered amongst the rubble, was, one imagines, something of a lark f ... This article is available to subscribers and for individual purchaseSubscribe to TNC (Print and Online editions) Subscribe to TNC (Online only) This article originally appeared in The New Criterion, Volume 17 June 1999, on page 49 Copyright © 2012 The New Criterion | www.newcriterion.com http://www.newcriterion.com/articles.cfm/museumasmuse-naves-2844
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by Mario Naves On "Maurizio Cattelan: All" at the Solomon R. Guggenheim Musuem, New York. by Karen Wilkin On “Rembrandt and Degas: Two Young Artists” at the Sterling and Francine Clark Art Institute, Williamstown, MA. On "New Formations: Czech Avant-Garde Art & Modern Glass from the Roy and Mary Cullen Collection” at the Museum of Fine Arts, Houston. On “Ai Weiwei: Dropping the Urn, Ceramic Work 5000 B.C.–A.D. 2010” at the Victoria & Albert Museum, London & “The Flamboyant Mr. Chinnery: An English Artist in India and China” at Asia House, London.
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