Em 1923, Dr. Albert Barnes introduced his collection of modern European art to Philadelphia with an exhibition at the Pennsylvania Academy of the Fine Arts.
A menina ALICE estava em FILADELFIA a estudar na Philadelphia School of Design for Women (1921-25). É essa a origem (que não tenho visto sublinhada... mas o MET, na retrospectiva de 2021, acompanhou-a com Soutine e Mary Cassatt, Robert Henri, Van Gogh). O Soutine continuou a ser desvalorizado pela crítica formalista e pelos seguidores do urinol. Fui vê-lo em 2000 a Ceret, onde viveu: "Ceret 1919.1922", no Musée d'Art Modderne de Céret. Occitânia, Pirenéus Orientais.
"Critics hated it, igniting a very public battle between Barnes and the Philadelphia press over modern art, good taste, and who had the authority to decide what belonged in a museum.
More than a century later, many of the works that caused such outrage remain in the Barnes collection. This October, our Spotlight Tour revisits the controversy surrounding them.
Alice Neel confirma a importância de Soutine, mas faz as suas reserva“ (ela é de uma lucidez crítica assinalável e implacável);; "They are the people I love: Goya, Soutine, Munch”
[Why do you want to tell the truth?] Pág 184 185, Patrícia Hills, “Alice Neel” 1983
It's just my first principle. And somebody said to me: "But that's your subjective truth." And I said to them: "But I wouldn't have gotten so famous for my so-called subjective truth if it hadn't been in some way matched up with what is so, you know."
I think Chaim Soutine is great, but in one way he's an old-fashioned artist. He was so ridden by his own vision that he did not see objective reality. Soutine is a very strange genius. He was doped by his own emotions. He could only do what he could do. He has a landscape where the whole thing is falling down. It's like a mental state. And yet it's a landscape and it's wonderful. Now Goya, though, saw objective reality much more than Soutine.
There is another thing about Soutine I didn't like. He still belonged to the generation who worked inside the frame. My painting always includes the frame as part of the composition. Soutine is just like Rembrandt, inside the frame.
Edward Munch is a genius, too. They are the people I love: Goya, Soutine, Munch. But Munch I never saw in the beginning I did a painting, and you'll swear that I was influenced by Munch, but I hadn't even heard of him yet.
I have a touch of Expressionism, but it never crosses out the analytical completely.
When I got psyched, my analyst said to me: "Why is it so important to be so honest in art?" I said: "It's not so important, it's just a privilege."
You know what Tom Paine <b. 1737- 1809*> said: "These are the times that try men's souls." Yes, sure, fair weather and winter soldiers. And you know what Thomas Jefferson said: "Ever so often, the tree of liberty must be watered by the blood of tyrants." That's nice, too, isn't it?"
*"Thomas Paine was a pamphleteer, controversialist and international revolutionary. His Common Sense (1776) was a central text behind the call for American independence from Britain; his Rights of Man (1791–2) was the most widely read pamphlet in the movement for reform in Britain in the 1790s and for the opening decades of the nineteenth century; he was active in the French Revolution and was a member of the French National Convention between 1792 and 1795; he is seen by many as a key figure in the emergence of claims for the state’s responsibilities for welfare and educational provision, and his Age of Reason provided a popular deist text that remained influential throughout the 19th century. In his own lifetime, and subsequently, he has been extensively vilified and often dismissed. Yet many of his ideas still command wide interest and enthusiasm in readers throughout the world". Stanford Encyclopedia of Philosophy
e às vezes também se engana: não quanto ao Oldenburg (o gadget) mas quando diz "It's pragmatism. William James."
[Do you think that there is any contradiction between art and truth?]
I could accept any humiliation myself, but my pure area was art, and there it was the truth. I told the truth the best I was able. I think that the best art is the art that makes the truest statement of when it was existing, both aesthetic, and political, and everything. For when it was existing. Lenin preferred Balzac to any other Western writer because Balzac realized the importance of money and trade in life. Do you know The Human Comedy-about young men from the provinces who go to Paris to make their fortune? That is really what life is—The Human Comedy. And put together, that's what my paintings are.
Now, it's a dangerous thing that Claes Oldenburg got so famous just doing gadgets. That lipstick in front of Yale. It's the vulgarity of America that can be translated into just gadgets or just technique. It's pragmatism. William James. The fundamental philosophy of America.
We are a gadget-ridden people. But not that much. Not that much, because there are still people with souls. We cannot reduce ourselves to just a gadget. That will have a big fad for a while, because it's something new. And also it falls into that big pot out of which everything comes, and by which everybody is influenced.
[In the late 1970s, Neel wrote the following statements:)
I do not know if the truth that I have told will benefit the world in any way. I managed to do it at great cost to myself and perhaps to others. It is hard to go against the tide of one's time, milieu, and position. But at least I tried to reflect innocently the twentieth century and my feelings and perceptions as a girl and a woman. Not that I felt they were all that different from men's.
I did this at the expense of untold humiliations, but at least after my fashion I told the truth as I perceived it, and, considering the way one is bombarded by reality, did the best and most honest art of which 1 was capable.
I always was much more truthful and courageous on canvas,
I felt that profundity in art was the result of suffering and deprivation-but I am not sure that this is so.
Every person is a new universe unique with its own laws emphasizing some belief or phase of life immersed in time and rapidly passing by. Death, the great void of life, hangs over everyone.
I love, fear, and respect people and their struggle, especially in the rat race we live in today, becoming every moment fiercer, attaining epic proportions where murder and annihilation are the end.
I am psychologically involved and believe no matter how much we are overcome by our own advertising and commodities, man himself makes the world.
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