Carol Duncan

  • Neutralizing “The Age of Revolution”

    THE EXHIBITION “FRENCH PAINTING 1774–1830: The Age of Revolution,” like “The Impressionist Epoch” of last year, was seen on both sides of the Atlantic. Starting at the Petit Palais in Paris, it went to the Detroit Institute of Art, and then to the Metropolitan Museum of Art in New York. Conceived by Robert Rosenblum, whose work is well known to students of the 19th century, and by Fred Cummings, Director of the Detroit Institute of Art, it represents the collaborative efforts of both French and American scholars. But unlike “The Impressionist Epoch,” which consisted largely of works that hang

  • When Greatness is a Box of Wheaties

    Cindy Nemser, Art Talk: Conversations with Twelve Women Artists (New York: Charles Scribner’s Sons), 367 pages, illustrated, hardbound.

    I used to say the thing in this country was to be like a box of Wheaties—to turn out a product so that everyone knew you by that product.

    —Alice Neel

    THE RELATIONSHIP BETWEEN ART criticism and feminism has still to be carefully considered. What does a feminist critic do? In what context should she seek to understand women’s art? What is her relationship to women artists, old and young, feminist and not? Are the professional interests of criticism compatible with

  • Virility and Domination in Early 20th Century Vanguard Painting

    IN THE DECADE BEFORE World War I, a number of European artists began painting pictures with a similar and distinctive content. In both imagery and style, these paintings forcefully assert the virile, vigorous, and uninhibited sexual appetite of the artist. The best remembered—but surely not the only—artists who felt the need to see themselves thus reflected were the Fauve artists in France and the Brücke group in Germany. Much of their art not only celebrates male erotic experience, it promotes some wider, still unexamined, notions about women and art in general. Equally unexplored are the social

  • Realism

    Linda Nochlin, Realism (London: Pelican Books, 1971), 283 pages, 134 black-and-white illustrations.

    "ALL THAT WAS SOLID and established crumbles away, all that was holy is profaned, and man is at last compelled to look with open eyes upon his conditions of life and true social relations,” wrote Marx in the Communist Manifesto.1 How this new consciousness, a product of the revolution of 1848, became a substantive part of artistic self-expression is the subject of Linda Nochlin’s Realism. Like Nochlin’s other writings, but unlike most art-historical studies, Realism is distinguished by the author’s