Posts Tagged ‘Edgar Degas’

Pleasures of Paris

Friday, September 6th, 1991

in a moment, the door will swing back shut, and the cafe will dis­ap­pear, and then the street singer will van­ish, into the street, into the night, nev­er to be seen again. Only here, in this paint­ing, where she is for­ev­er caught in the gold­en net of the Paris night at the moment when she stepped out through the swing­ing door, onto the street, and into our dreams.

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The Cone Collection

Sunday, January 28th, 1990

The CONE sis­ters col­lect­ed art because they loved it and want­ed to live with it. Their art col­lec­tion became an emblem of their secret selves — a vision of the rich­ness of their inner lives. Many of the images here show women the same expres­sion on their face — a look of con­tent­ment, com­plete­ness, and self-fulfillment.

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Mary Cassatt

Friday, July 14th, 1989

In many of the prints, a wom­an’s face is par­tial­ly obscured, either because of the way she has turned her head, or because she is hold­ing some­thing in front of her face ‑‑ a hand, a let­ter, a child. This con­veys a sense of mys­tery, a feel­ing that there are secret mean­ings and moments of tragedy and what Vir­ginia Woolf called “ecsta­sy” — hid­den in the tex­ture of a wom­an’s dai­ly life.

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Michael Mazur

Sunday, May 1st, 1983

In MICHAEL MAZUR’s hands, the Mono­type was the per­fect form to con­vey the mul­ti­plic­i­ty of life in the nat­ur­al world. The clear­est, most lucid flow­ers are sur­round­ed by a paler aura of oth­er flow­ers, oth­er sum­mers, oth­er inter­pre­ta­tions — a riot of reeds and flow­ers, organ­ic growth, con­fu­sion, and decay. Revenants of images repeat like ghost­ly, half-remem­bered things.

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