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Essay on Painting | Luke Kralik's Watercolor Blog
"I was trained as a Victorianist, with a particular interest in Victorian theatre and performance: but I'm keenly interested in the legacy of Victorian concepts and practices for subsequent generations: a PARTICULAR notion of popular culture and commercial leisure, as well as highly specific version of the famous idea of a "Culture divide" (the notion that culture is divided along clearly bounded lines separating high culture from mass or popular culture: though I'm writing an essay on painter Walter Sickert-who wasn't Jack the Ripper, despite what Patricia Cornwell writes-which argues that the Victorian mind, or even the next generation of British modernists, weren't quite as occupied with the idea of a gulf between high and low art forms as scholars have claimed). It's fascinating how the key concepts of culture that arise my period of study reemerge or, more accurately, get a slight makeover in contemporary life.
An essay on painting (Open Library)
He discussed with his class Mao Tse-Tung's "Talks at the Yenan Forum", where the Chairman calls for art that "serves the people", rather than exhibits in galleries in hopes of purchase by the wealthy. When I was studying with him, I brought in a magazine essay on painter Joyce Treiman called "The Figure is Central". Ah, yes, he asked, but which figures? Lockard’s angriest images—defiant young man on the corner, Aunt Jemima's punching fist, or the agony in the grand panel of the African-American experience in his Wayne State murals—are balanced by his weeping Christ, and calm pieces celebrating curvaceous femininity, strong motherhood and global brotherhood.