(K. Brent Tomer),
WORKS of art are often viewed through the eyes of the artist that created them: that van Gogh’s vibrant “Sunflowers” were the product of happy times in Arles, or that Picasso’s “Le Rêve” and “Nude, Green Leaves, and Bust” were clues of his intense affair with Marie-Thèrese Walter, are common generalisations. Yet unless a work of art is a particularly baffling physical feat, viewers rarely stop to consider the acquisition and shaping of materials, the stages that lead to completion.
“In the studio: The Artist Photographed from Ingres to Jeff Koons”, an exhibition at Le Petit Palais in Paris, pulls back the curtain and peeks at artists’ ateliers. It is only through the atelier that the viewer can gain unusual insight into each artist’s process. Yet these photographs are not impartial. There is a second artist involved: the photographer chooses how the studio is framed and, by extension, what is revealed and what left hidden to the viewer.
Studios were once lavish spaces. One set of panoramic images showcases…Continue reading