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For several centuries the pose in a portrait served as a key element, and was often joined chiefly with the sitter’s clothing, and occasionally the background, as crucial supplements. These three elements — the body held, covered, and situated — were enlisted to support the emotional meaning of the work. Moreover, the elements were generally in service to the look on the subject’s face. This look was meant either as an expression of a true identity or as a comment on the world (including the viewer) onto which the subject looked. The resulting overarching emotion might embrace hauteur or graciousness or melancholy, emotions that could possess an ironic cast, but were often presented as pure and unadulterated. This complex of emotions is usually what catches us and holds us, inviting us to return gaze for gaze, to repay alert sensitivity with open absorption.

More… “In Honor of Faces”

Charles Molesworth has published a number of books on modern literature. His most recent book is The Capitalist and the Critic: J.P. Morgan, Roger Fry and the Metropolitan Museum of Art (U. of Texas).
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Oh For the Love of God

It has been a long time since Andy Warhol started being Andy Warhol. Yet we still fail to appreciate the fact that art is happening largely on his terms. For anyone who was paying attention, Andy Warhol changed the rules for art and ushered in new times. The simplest way to put it is that he made it possible — with the soup cans and the Brillo boxes and the silkscreens of famous movie stars — to make art from the world of consumer goods, the world that we’ve all actually been living in for a few generations now. Some people still don’t want to forgive him for that. But, in the end, all he was doing was telling the truth. His best work is great because of how deeply Warhol was willing to accept that we live in the world that we do. The degree to which he allowed… More…