(El arte de la Rivalidad) [PDF READ] Ì Sebastian Smee
Sebastian Smee ¾ 9 review
Out each artist in this book of just over 400 pagesWhat I knew about Francis Bacon Lucien Freud douard Manet Edgar Degas Henri Matisse Pablo Picasso Jackson Pollock and Willem de Kooning I just got by on and what I knew was about their works of art than how the rivalry between each pair fuelled their creativity Freud s admiration for Bacon was almost to the point of obsession where it inspired him to rethink his own approach to painting whereas Degas s reverence of Manet never made him lose sight of his autonomy Of the four pairs it was the rivalry between Matisse and Picasso that worked at a different tempo Smee explains how oblivious Matisse was to see for ears he and Picasso were competitors as Picasso s drive to be better than him would eventually put him ahead of the game Also Matisse and Picasso unlike Pollock and de Kooning were not unnerved by the fame their art would bring them both Pollock and de Kooning when they reached the heights of being noticed struggled with it However their rivalry differed from the others and for a period was playful as they were the closest in friends However this would become difficult when Pollack who always struggled with keeping his anger in check and couldn t handle his drink like Bacon would start to damage itWhat I also liked about this book was not that it just covered the lives of eight artists but also gave a wide scope of their times what was going on with art in general and other artists and patrons who had an input to their journey to produce their art For Matisse and Picasso the Steins primarily Leo and Gertrude Stein helped to make their art visible The Steins were all avid art collectors of something new went were divided and changed their favouritism between Matisse and Picasso The chapter of Pollock and de Kooning covered the widest circle of friends as Smee gave a sometimes very brief insight to art critics who had an influence Harold Rosenberg and Clement Greenberg supporters and patrons Peggy Guggenheim and other artists Arshile Gorky and Lee Krasner My only small uibble of this book is there were not enough images of the works it referenced though some I am familiar with but others I had to look up Otherwise I liked how little work this book reuired from me to better appreciate some of the artists and art of the twentieth century Vivid and exuberant writing about artbrings great works to life with love and appreciation Pulitzer citation Smee takes readers deep into the beginnings of modern art in a way that not only enlightens but also builds a stronger appreciation of the influences that created the environment that fostered its I was going to summarize my stance on this book by simply stating that I thought it was butt However I ve decided ou might need further explanation and support for such a negative review So here goes My first issue with this book was discovered right at the onset the language used I understand that art and art criticism seemingly reuires the application of grandilouence but this was ridiculous By the end of the first chapter I tired of 55 word sentences filled with sesuipedalian words that ultimately conveyed a load of reified nonsense The only time I was thankful for overly obscure jargon was when the author refers to Jackson Pollock as a stumblebum My second issue was the failed attempt to clarify the overly masculine focus Smee states that his choice stemmed from his desire to focus on unromantic relationships between contemporary artists he settles on Freud and Bacon Manet and Degas Matisse and Picasso and Pollock and de Kooning The assumption that male female and female female artistic interactions will always amorous are problematic enough but this is furthered when he focuses entirely on the sexual tension between Lucian Freud and Francis Bacon and then hints at a possible sexual tension between Jackson Pollock and Willem de Kooning Also when the author wasn t talking about possible amorous feelings between the chosen rivals he is talking at length about their escapades with wives mistresses models collectors and randos While interesting information about artists relationships were sometimes conveyed and their artworks were beautifully described the book failed to fully develop any insights into the rivalry or professional relationship between these artists Instead the connections felt contrived and forced None seemed to be competing for the same commissions studied or worked together or pushed each other in terms of style or subject They certainly lived in the same circles and may have painted each other were friends lovers or frenemies but none of the salacious descriptions of these artists interactions conveyed a sense of rivalry or even true influence The last chapter dealing with Jackson Pollock and Willem de Kooning came closest but it still could have been strongerThe book gave interesting gossipy tidbits about each artist s life and did convey good information about certain works but overall it was lacking in substance and insight into its proposed topic. Elationships that seed the ground for moments spent at the canvas The New York TimesWith novella like detail and incisiveness Sebastian Smee opens up the worlds of four pairs of renowned artists Each of his portraits is a biographical gem The Art of Rivalry is a pure informative delight written with canny authority The Boston GlobeBacon liked to say his portraiture aimed to capture 'the pulsations of a person' Revealing these rare creators as the invaluable catalysts they also were Smee conveys exactly that on page after page His brilliant group biography is one of a kind The Atlantic Perceptive Smee is onto something important His book may bring us as close as we'll ever get to understanding the connections between these bristly bonds and brilliance The Christian Science MonitorIn this intriguing work of art history and psychology The Boston Globe's art critic looks at the competitive friendships of Matisse and Picasso Manet and Degas Pollock and de Kooning and Freud and Bacon All four relationships illuminate the creative process both its imaginative breakthroughs and its frustrating blocks Newsda.
This is art history as examined through the relationships of four pairs of contemporaries Manet and Degas Picasso and Matisse Pollock and de Kooning and Freud and Bacon With deft descriptions of the works and the techniues and a little bogged down in the soap opera ish relationship tangles Smee explores how love hate envy friendship and just close proximity challenged these artists to expand their work grow as artists if not always as human beings and think in tandem with a If ou ever imagined that great artists languish in their garrets all day in solitude please read The Art of Rivalry It s hard to see how these eight artists had time to paint at all with all the carousing drinking affairs drugs and fighting Art critic Sebastian Smee sets out to show how competitive friendships among artists result in pushing artists to be even creative This makes sense and he points to four sets of friendshipsrivalries in which one or both artists were pushed by competition jealousy rivalry to try new ways of painting The rivalries are uite cinematic and the behavior of many of the artists is scandalous demented and sometimes destructive It certainly made life for their families a disasterSeveral books have recently explored the idea that genius is a flawed notion that creativity is built on the creativity that went before it and out of brainstorming and competition Thomas Edison the Wright B In The Art of Rivalry Sebastian Smee discusses the relationships between four pairs of artists The book provides an interesting look at how artists influence one another sometimes supporting and other times undermining each other as they struggle to create art It was interesting Painters Without PicturesSo much of the pleasure in an art book comes from the combination of text binding and the art itself that it is difficult to review a cheaply produced advance proof via Vine of the words alone However the publishers promise a beautiful package with two 8 page color photo inserts of art Author Samuel Smee refers to the illustrations by number and it is possible to look most of them up online but there are a few cases where it is difficult to be sure exactly which version of a work he has chosen But even if one assumes that the final copy will be all that its publishers promise the proportions are just wrong 16 illustrations are just too few for 360 pages of text In a book about friendships influence and rivalries between pairs of artists ManetDegas PicassoMatisse PollockDe Kooning and BaconFreud what really matters surely is that the paintings themselves should do the talking whether reproduced in photographs or described in words But while Smee ranges from good to excellent when writing as a biographer the actual art no matter how beautifully produced the final edition takes a back seat to facts and anecdotesI read two of Smee s sections BaconFreud and ManetDegas in detail and skimmed the other two I learned a lot I must admit I had known Francis Bacon s work his theatrically contorted figures and screaming popes ever since his 1962 retrospective at the Tate the intimate skewed realism of Lucian Freud s portraiture stole slowly into my awareness I gather I am by no means alone in this one of the useful things that Smee does is to trace the trajectory of each artist s career Bacon rising rapidly to a creative plateau Freud gaining slowly in reputation and fame right up to his death in 2011 I learned a great deal about the artists as men Bacon s louche lifestyle and risk taking behavior with lovers who could be physically abusive or even criminal Freud s two marriages and liaisons with a great number of women all told with cameo appearances by many of the famous or infamous figures of the London postwar social scene Somewhere along the line Smee shows how the friendship may have given Freud technical boldness and perhaps nudged Bacon into portraiture but my increased understanding of each artist s work was minor compared to what I learned about their livesIn his chapter on the two French artists Smee spends time on Manet than on Degas This is probably because he was the interesting figure flamboyant and genial in his social life fresh and iconoclastic in his artistic one Degas by contrast was private married only to his art Perhaps because I already knew most of Manet s work I could run through the slides in my head so to speak watching how each stage in his development matched the appropriate picture But I learned little about him as a painter as compared to Julian Barnes essays on the artist in Keeping an Eye Open or even the amateur but insightful observations of Michel Foucault in Manet and the Object of Painting Smee opens his entire book intriguingly with a trip to southern Japan to see Degas portrait of Manet and his wife a gift of friendship that Manet later destroyed by cutting the section with his wife right down the middle Intriguing Biographers have no explanation for the violence of Manet s action But here s the thing I don t think Smee manages to explain it eitherSme. Pulitzer Prize winning art critic Sebastian Smee tells the fascinating story of four pairs of artists Manet and Degas Picasso and Matisse Pollock and de Kooning Freud and Bacon whose fraught competitive friendships spurred them to new creative heightsRivalry is at the heart of some of the most famous and fruitful relationships in history The Art of Rivalry follows eight celebrated artists each linked to a counterpart by friendship admiration envy and ambition All eight are household names today But to achieve what they did each needed the influence of a contemporary one who was eually ambitious but possessed sharply contrasting strengths and weaknessesEdouard Manet and Edgar Degas were close associates whose personal bond frayed after Degas painted a portrait of Manet and his wife Henri Matisse and Pablo Picasso swapped paintings ideas and influences as they jostled for the support of collectors like Leo and Gertrude Stein and vied for the leadership of a new avant garde Jackson Pollock's uninhibited style of action painting triggered a breakthrough in the work of his older rival Willem de Kooning
E s relative lack of focus on the artworks themselves is especially regrettable since when he does address a painting in detail he can be superb Here is part of what he has to say about Freud s small portrait of Francis Bacon painted on copper in 1952 Even so the contrast between the left and right sides of Bacon s distinctive pear shaped head is odd and becomes so the longer Crochet you study it The right Bacon s right cast lightly in shadow is a study in placidity Over on the left however everything is slipping and sliding about An S shaped lick of hairou can count the strands casts a dashing shadow on Bacon s brow The whole left side of his mouth twists upward triggering a pouchy swelling like the body s response to a sting at the corner of the mouth A sheen of sweat shines from that corner of his nose Even the left ear seems to convulse and suirm Most striking of all is the way Bacon s left eyebrow extends its powerful arabesue into the furrow at the center of his forehead This has nothing to do with realism if Playhouse you take that term literally no eyebrow behaves this way But it s the engine that powers the whole portrait just as the portrait itself is the key to the story of the most interesting fertile and volatile relationship in British art of the twentieth century Is this better than the pithy description by Robert Hughes the silent intensity of a grenade in the millisecond before it goes off Perhaps because it adds detail though I wish Smee had added it to of the other pictures he mentions in this text heavy book and he could do with of Hughes incisive urgency He also offers the portrait aset another unsolved mystery who stole it from an exhibition in Berlin in 1988 and why Ultimately what most interests Smee is not the portrait but the relationship and the stories that surround it He will attract many readers who have exactly the same priorities pure art lovers not so much This is a story of Modern Art told through the lens of four pairs of rivaling friendships Freud and Bacon Manet and Degas Picasso and Matisse and Pollock and de Kooning Smee follows ups and downs loves and hates in these relationships and around them He explores how these relations are influenced by art and vice versa how how these relations shape the art The book contains 8 pages of color illustrations which feature 2 3 key paintings from each pair However the text refer much works so I end up googling and printing these paining to get visuals for narrativeThis book was part of my reading spring on Biographies The book came to me from some books review Great topic disappointing handling This book can t seem to decide whether it s biography psychology or art history and in the end is a rather bland mix of the three that doesn t add up to solid substance You get some general biographical sketches first of one person then the other Sometimes they interact but there is little to demonstrate the in depth dynamics of the rivalry I do believe the rivalries existed but I wanted a little meat on the boneThere s a lot of surmising He probably felt that or we can imagine that he was one can only assume with no specific references no footnotes no validation In fact one scene about 4 pages long in which Matisse visits the studio of Picasso is all conjecture Matisse must have felt Gertrude one feels would have been brusue It s possible Matisse may have noticed etc I felt I was wasting my time but it s a bit like reading celebrity gossipyou keep going in spite of ourself In the end gossip hearsay and hypotheses made up a lot of the content Lots of filler too little chatty asides that didn t really contribute weight to the central ideaI also found the writing uite uninspired short sentences lacking complexity that seemed to be written almost at a high school level I was surprised to learn that the author was actually a Pulitzer prize winning art critic Maybe so but this book just doesn t seem to measure up If he looks a bit bored here ou have to understand that douard Manet had no ear for music no matter how lovely his wife Suzanne played And he had been sitting most of a winter for Degas to get this family setting on canvas Ah but Degas was showing than boredom You know what they say about unhappy familiesThe right side of the painting looks as though Madame Manet is hidden by a wall But that s no wall Degas painted Suzanne in full profile and the piano too But when he visited Manet shortly after completing the painting he noticed that someone had slashed the face of As I was reading The letters of Vincent van Gogh I was inspired to approach art from a different way that s how I discovered this book From the twentieth century Smee covers the story of 4 pairs of artists drawing a picture of a love hate relationship and have it fed their art and life Compared to something like Art Visual Culture 1850 2010 there are no art tech terms to grasp or big concepts of art history this is a scintillating entertaining read where the writing is so tight as Smee managed to pack much information and detail ab. Fter Pollock's sudden death in a car crash de Kooning assumed Pollock's mantle and became romantically involved with his late friend's mistress Lucian Freud and Francis Bacon met in the early 1950s when Bacon was being hailed as Britain's most exciting new painter and Freud was working in relative obscurity Their intense but asymmetrical friendship came to a head when Freud painted a portrait of Bacon which was later stolenEach of these relationships culminated in an early flashpoint a rupture in a budding intimacy that was both a betrayal and a trigger for great innovation Writing with the same exuberant wit and psychological insight that earned him a Pulitzer Prize for art criticism Sebastian Smee explores here the way that coming into one's own as an artist finding one's voice almost always involves willfully breaking away from some intimate's expectations of who ou are or ought to bePraise for The Art of RivalryGripping Mr Smee's skills as a critic are evident throughout He is persuasive and vivid You leave this book both nourished and hungry for about the art its creators and patrons and the