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- Harry Mount, the London Telegraph
Art“Why on earth,” a colleague asked, “would you want to write about Gustave Moreau?” The answer, I think, is plain to anyone interested in the byways of twentieth-century art; Moreau (1826–1898) is an obligatory footnote in art history texts because of his role as the teacher of Henri Matisse. (Georges Rouault and Albert Marquet were also pupils.) In the catalogue accompanying the exhibition “Gustave Moreau: Between Epic and Dream”—seen at the Metropolitan Museum of Art from June 1 to August 22— Douglas W. Druick, Senior Curator at the Art Institute of Chicago, writes that “Moreau’s dream of a symbolic language found its true voice” in “the joyous color, graceful arabesques, and decorative sensibilities of Henri Matisse.” The organizers of the show seek to establish Moreau as a pivotal Modernist antecedent—by linking him not only with Matisse, but also with the Symbo ... 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 18 September 1999, on page 49 Copyright © 2012 The New Criterion | www.newcriterion.com http://www.newcriterion.com/articles.cfm/summerinthecity-naves-2825
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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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