Latest news with #Modernity
Yomiuri Shimbun
14-05-2025
- Entertainment
- Yomiuri Shimbun
Upcoming Impressionist Exhibition in Tokyo to Focus on Paintings with Interior Settings; Masters of Art Form to be on Display
The Yomiuri Shimbun Mone Kamishiraishi stands beside a poster of the upcoming exhibition 'Impressionist Interiors: Intimacy, Decoration, Modernity' during a press conference in Tokyo on Tuesday. An upcoming exhibition at the National Museum of Western Art in Ueno, Tokyo, will offer a fresh look at Impressionist paintings by focusing on works with indoor settings, according to a press conference held in Tokyo on Tuesday. The exhibition, titled 'Impressionist Interiors: Intimacy, Decoration, Modernity,' will be held at the Tokyo museum from Oct. 25 to Feb. 15 next year. About 100 Impressionist paintings from Japan and abroad will go on display, including about 70 works from the Musee d'Orsay, Paris, which is often referred to as a paragon of Impressionism. 'I hope that visitors will feel people's breaths and the sensation of their lives [in the paintings],' said actress-singer Mone Kamishiraishi, the ambassador of the exhibition organized by The Yomiuri Shimbun and others. The exhibition aims to show that Impressionist painters were not only looking at the light in the open air but also at interior settings. Among the works to be exhibited is 'Portrait de familie' by Degas. The portrait of the Belelli family is regarded as one of the most important works by Degas in his 20s and will be shown in Japan for the first time at the exhibition. Masterpieces by Renoir, Monet and other Impressionist masters will also be on display.
Boston Globe
02-05-2025
- Entertainment
- Boston Globe
John Singer Sargent in Paris
If that doesn't sound like the Sargent you know, well, join the club. Boston adopted Sargent at the apex of his most successful moment in the late 19th century as the most sought-after portraitist of the very rich. They were, in many ways, made for each other: In the rush of Modernity that would bring seismic change to the art world, Boston and Sargent both would largely choose to take a pass. John Singer Sargent, 'In the Luxembourg Gardens,' 1879. John Singer Sargent/Courtesy of the Philadelphia Museum of Art, John G. Johnson Collection, 1917 (Cat. 1080) At the end of his career, Boston gave Sargent a legacy commission in the When they were finished in 1925, their softly Baroque aesthetic was hopelessly outdated amid the shock of the new, embodied by young turks like Pablo Picasso and Henri Matisse. Thus, the Sargent era ended not with a bang, but a whimper: In a tragic, ironic turn, Sargent himself had died just months before they were unveiled. Advertisement Boston's most enduring Sargent presence, to me, serves as meek epitaph to a towering talent. 'Sargent & Paris,' by contrast, is an energizing prologue. It begins in 1874, when an 18-year-old Sargent, born and raised in Italy by American parents, first arrived in the French capital. Change was in the air: The Franco-Prussian War had ended in humiliating defeat for the French in 1871, and the Amid the tumult, challenges to the established order were everywhere, not least of which in France's stiffly traditionalist academic art world. The year he arrived, Installation view of "Sargent and Paris," at The Metropolitan Museum of Art; "Madame X," one of his most famous works, is at the center. Hyla Skopitz, courtesy of The Met Sargent had arrived right on time. By the third Impressionist show of 1876, the movement had gained momentum, and Sargent had become energized by its brio — so much so that he sought out Monet and kindled a friendship that would last to the end of his life. (One of his paintings here, 'In the Luxembourg Gardens,' 1879, is fitted with a smouldering sun mired in a muck of purple fog that reads as a clear homage to Monet's 'Impression, Sunrise,' 1872.) Advertisement Studying in the studio of Carolus-Duran, a leading portraitist, the young Sargent's talents were catalyzed by his mentor's unconventional guidance. Against tradition, he urged students to paint without preparatory sketches — to let instinct, moment, and paint itself guide them, a thoroughly modern notion. The immediacy Sargent captured explodes from his early works on view here. Two paintings of the Pasdeloup orchestra at the Cirque d'Hiver seem almost to be in motion, dizzyingly kinetic despite their dun palette, flecked with bursts of bright color. In 'Head of a Male Model,' 1878, a halo of ebullient swipes of bright paint frame his subject, an eruption of spontaneous painterly brilliance. But Sargent was also enraptured by the old-guard authority that emanated from the Salon, a bastion of art history. His reluctance to ally with full-blooded revolution would create a tension that shaded the rest of his career. Sargent's painting life reads as a constant push-pull between innovation and traditionalism. Alongside his painterly experiments, he aspired to achieve the polish demanded by the French Academy; he achieved it with his portrait of Carolus-Duran, which was accepted to the Salon in 1878 and first gained him acclaim. With it, critics wrote, the student had surpassed the teacher. John Singer Sargent's 'Fumée d'ambre gris (Smoke of Ambergris),' 1880. John Singer Sargent/Courtesy of the Clark Art Institute, Acquired by Sterling and Francine Clark before 1955 Had he, though? That portrait is a little too polished, too perfect, at least for my liking. It feels a little lifeless next to the verve of his bracingly spontaneous works of the same time. This is the thing with Sargent: I've never been as impressed by a painter's talents, and as frustrated by what he did with them. That's why starting from the beginning is so refreshing. Advertisement Sargent cemented his reputation as a portraitist of a trans-Atlantic high society, in London, in Boston, and in New York, which eventually made him the most sought-after portraitist of the elite of his time. This much, we know. catalog of high society subjects predicated on the artist's love of — and mesmerizing skill for — painting the fancy dress of the elite, it was an indulgent showcase for where Sargent's extravagant talents ultimately led him, to his perch as the torch bearer of a bygone era. It was partly why Boston loved him so. But it would be foolish to assail his gifts, which are supreme. He could find a universe in a bolt of fabric, a parallel reality of light and shadow in a fold of a bejeweled frock. He was just that good . But 'Sargent & Paris' prompts, more than anything, a tantalizing 'what if,' and then indulges that tease. John Singer Sargent, "Venetian Interior," c. 1880- 1882. Carnegie Museum of Art/Art Resource In 1878, the young Sargent set out to paint further afield, on the French coast, in Italy, in Spain, and Morocco, exulting in his powers. Some of the works from that time are on view here, so frank and immediate as to stop your heart. The artist's intuitive eye is on full display: The shimmer of light in 'Staircase in Capri,' 1878, a narrow slip of whitewashed stone steps cleaved by shadow and sun; 'Atlantic Sunset,' 1876, a riot of pink and purple, sun and cloud jostling for supremacy in loose and joyful smears of paint; 'Among the Olive Trees, Capri,' 1878, of a girl in a long dress slumped against a broken bough, with thick leaves dissolving into sky above a golden meadow brushed into being with vigorous, stabbing strokes. Advertisement Sargent's observational gifts are almost as powerful as his painterly ones. In these stolen moments, they live in breathless harmony. But not long after, the show takes a sharp turn into more familiar terrain, as Sargent's burgeoning talents deliver to him the patronage that would define him. There's much to be said about some of those pictures — and some, more than others. 'The Daughters of Edward Darley Boit,' an MFA staple from 1882, is here. In the austere space it occupies with dark-painted walls, it never looked better; atmospheric, brooding, and cloaked in shadow, it fuses the artist's urge toward narrative mystery with his eagerness to please. Modeled after Velazquez's 'Las Meninas,' the painting captures the children of prominent Boston Brahmins, then living in Paris, in a moody wash of pale light; with its enigmatic beauty, the piece serves the artist at least as much as the patron. John Singer Sargent, 'Claude Monet, painting, by the edge of a wood,' 1885. (Tate) John Singer Sargent/Presented by Miss Emily Sargent and Mrs Ormond through the Art Fund 1925 Would that it were more often so. I find so many of Sargent's portraits wearily overwrought, theatrical and almost silly (the lavish crimson affection of 'Dr. Pozzi at Home,' 1881, its subject in a regal, turgid pose amid a sea of red velvet, always makes me cringe). I don't have much more regard for 'Madame X,' risqué only in the context of polite Parisian society, while the less polite Impressionist cadre were far more compelling (as are so many of Sargent's own works). Advertisement So, even though it serves as the show's kicker, I prefer another way out. In 1885, Sargent painted 'Claude Monet Painting by the Edge of a Wood,' a lovingly loose tribute to his great friend's naturalistic urges to capture the world simply as he chose to see it. It seems painted almost in minutes, intuitively, joyfully. The contrast with his prim, practiced portraiture all but causes me physical pain. Sargent by then had ingratiated himself to an A-list of portrait clients and indulged in their lavish worlds. Monet, meanwhile, had left Paris for Giverny, brushing off his own growing popularity — and market — to keep pushing himself into new terrain to the very end of his life. 'One is too much taken up,' Monet once said, 'with what one sees and hears in Paris.' For Sargent, though, Paris was everything, a longing that never left him. After moving to London in 1886 to pursue portrait commissions, a conservative high society client list prompted him to sand down the edges of his Parisian sensibilities. Too avant-garde, But the path not taken haunted him: 'My heart is set on not being forgotten in Paris,' he told Monet. As he drifted into the louche comforts of a wealthy world, and finally into irrelevance, it made all the difference. What if, indeed. SARGENT & PARIS Through Aug. 3. Metropolitan Museum of Art, 1000 Fifth Avenue, New York. 212-535-7710 Murray Whyte can be reached at
Time of India
30-04-2025
- Politics
- Time of India
Navigating modernity's crises: Habermas vs Taylor in Nicholas H Smith's 1992 PhD thesis
Nicholas H. Smith 's 1992 doctoral dissertation, Modernity , Crisis and Critique: An Examination of Rival Philosophical Conceptions in the Work of Jürgen Habermas and Charles Taylor , offers a profound comparative analysis of two leading thinkers in contemporary philosophy. Submitted to the University of Glasgow, this work delves into the contrasting approaches of Habermas and Taylor concerning modernity, its inherent crises, and the role of critique . Setting the stage: Modernity and its discontents Smith begins by situating his study within the broader discourse on modernity, particularly the debates between modernist and postmodernist perspectives. He notes that while both Habermas and Taylor engage deeply with the challenges of modernity, they offer divergent solutions rooted in their distinct philosophical traditions. Habermas: Rational discourse and communicative action Jürgen Habermas, a prominent figure in the Frankfurt School, emphasizes the centrality of rational discourse in addressing the pathologies of modernity. He argues that the colonization of the lifeworld by systemic mechanisms—such as the market and bureaucracy—leads to social fragmentation. To counteract this, Habermas proposes the theory of communicative action, wherein individuals engage in rational dialogue to reach mutual understanding and consensus. Habermas's commitment to a universalist framework is evident in his discourse ethics, which posits that normative validity arises from the ideal speech situation. In this context, participants are free from coercion and can deliberate on moral issues, leading to legitimate norms and laws. This approach seeks to reconcile the demands of modern pluralistic societies with the need for shared rational foundations. Taylor: The embedded self and the quest for authenticity In contrast, Charles Taylor offers a communitarian perspective that underscores the importance of cultural and historical contexts in shaping individual identities. He critiques the atomistic view of the self prevalent in liberal thought, arguing that individuals are inherently embedded within communities and traditions. Taylor's exploration of modernity focuses on the "malaise" stemming from the loss of shared moral frameworks. He contends that the modern emphasis on individual autonomy has led to a fragmented sense of self and a decline in communal values. To address this, Taylor advocates for a politics of recognition, where diverse cultural identities are acknowledged and respected within the public sphere. Contrasting approaches to secularism and pluralism A significant point of divergence between Habermas and Taylor lies in their treatment of secularism and pluralism . Habermas envisions a secular public sphere where rational discourse prevails, and religious arguments are translated into universally accessible language. This model aims to ensure inclusivity and prevent the imposition of particularistic worldviews. Taylor, however, challenges this notion by highlighting the limitations of a strictly secular framework. He argues that such an approach can marginalize religious perspectives and fail to accommodate the full spectrum of moral and cultural diversity. Instead, Taylor proposes a "model of diversity" that recognizes the legitimacy of multiple worldviews, both secular and religious, in shaping public discourse. MDPI The role of critique in modern societies Smith delves into the differing conceptions of critique offered by Habermas and Taylor. For Habermas, critique is rooted in the rational examination of societal structures, aiming to identify and rectify systemic distortions. His approach is grounded in the Enlightenment tradition, emphasizing reason as the tool for emancipation. Taylor, conversely, views critique as an interpretive endeavor that seeks to understand the underlying values and meanings within cultural practices. He emphasizes the importance of engaging with the moral frameworks that individuals and communities hold, advocating for a hermeneutic approach that respects the depth and complexity of human experiences. Synthesizing insights: Towards a balanced perspective While Smith acknowledges the strengths of both philosophical approaches, he also highlights their respective limitations. Habermas's emphasis on rational discourse may overlook the significance of cultural particularities, while Taylor's focus on communal values might risk relativism. Smith suggests that a more comprehensive understanding of modernity and its challenges requires integrating the universalist aspirations of Habermas with the contextual sensitivity of Taylor. Such a synthesis would allow for a public sphere that upholds rational deliberation while also honoring the diverse moral landscapes that individuals inhabit. Nicholas H. Smith's dissertation offers a nuanced exploration of the philosophical tensions inherent in modernity. By juxtaposing the theories of Habermas and Taylor, he illuminates the multifaceted nature of modern crises and the varied pathways to critique and resolution. Smith's work underscores the importance of fostering dialogues that bridge universal principles with particularistic understandings, paving the way for more inclusive and reflective democratic societies. Here is the full PDF of the thesis: 'Instant Scholar' is a Times of India initiative to make academic research accessible to a wider audience. If you are a Ph.D. scholar and would like to publish a summary of your research in this section, please share a summary and authorisation to publish it. For submission, and any question on this initiative, write to us at instantscholar@ For real-time updates, follow our AP SSC 10th Result 2025 Live Blog.
