#flagartfoundation

“Ingres transposed the theme of the mythological nude, whose long tradition went back to the Renaissance, to an imaginary Orient. This work, his most famous nude, was commissioned by Caroline Murat, Napoleon’s sister and the queen of Naples. Here, Ingres painted a nude with long, sinuous lines bearing little resemblance to anatomical reality, but rendered the details and texture of the fabrics with sharp precision. This work drew fierce criticism when it was displayed at the Salon of 1819.” [1]

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“In the late 70s Pettibone also made Photorealist combine paintings, basing the juxtapositions of favored images on visual or conceptual rhymes. The shapely body of Clay Regazzoni’s Ferrari, for example, proves a seductive counterpoint to Ingre’s Grande Odalisque. Images of goblets, teapots, Playboy nudes, old master paintings, necktie patterns, Picasso drawings, and Duchamp readymades are united, inserted, and sometimes overlapped, all fodder for combine compositions.” [2]

Image:

Richard Pettibone. Ingres, ‘Grand Odalisque’, 1814; and Clay Regazzoni’s Ferrari after Winning the U.S. Grand Prix at Long Beach California, 1976, 1976, oil on canvas. 7 7/8 x 12 1/8 inches.

Text: [1] Carol Ockman, “A Woman’s Pleasure: The Grande Odalisque”, in Ingres’s Eroticized Bodies. Retracing the Serpentine Line, New Haven and London: Yale University Press, 1995, pp. 33-65., https://www.louvre.fr/en/oeuvre-notices/une-odalisque.  

[2] Michael Duncan, “A Snow Shovel is Nice: The Works of Richard Pettibone,” in Ian Berry and Michael Duncan, Richard Pettibone: A Retrospective, Skidmore, New York: The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, 2005, 8.

MATCHBOX WITH A FLY IN IT

Shadow box Music box Pill box A box which contains a puzzle A box with tiny drawers, Navigation box Jewelry box Sailor’s box Butterfly box Box stuffed with souvenirs of a sea voyage Magic prison An empty box

[1]

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Joseph Cornell (1903-1972) could not draw, paint, or sculpt, and yet is considered one of the most influential American artists of the twentieth century. From the late 1920s until his death in 1972, Cornell roamed the streets of New York City—a city he would never venture far from—scouring its used bookstores, flea markets, and junk shops. “My work was a natural outcome of my love for the city,” he said. One day in 1931 he saw some compasses in one shop window and some boxes in the next, and it occurred to him to put them together. The range of found items in his L’Égypte de Mlle Cléo de Mérode cours élémentaire d’histoire naturelle, constructed in 1940, includes the following: Doll’s forearm, loose red sand, wood ball, German coin, several glass and mirror fragments, 12 cork-stopped bottles, cutout sphinx head, yellow filaments, 2 intertwined paper spirals, cut-out of Cléo de Mérode’s head, cutout of camels and men, loose yellow sand, 6 pearl beads, glass tube with residue of dried green liquid, crumpled tulle, rhinestones, pearl beads, sequins, metal chain, metal and glass fragments, threaded needle, red wood disc, bone and frosted glass fragments, blue celluloid, clear glass crystals, rock specimen, 7 balls, plastic rose petals, three miniature tin spoons for a doll house. [2]

-- Image: Top: Box construction. 11.9 x 27.1 x 18.4 cm (closed). The Robert Lehrman Art Trust, courtesy of Aimee and Robert Lehrman Photo The Robert Lehrman Art Trust, courtesy of Aimee and Robert Lehrman. Photography: Quicksilver Photographers, LLC. © The Joseph and Robert Cornell Memorial Foundation/VAGA, NY/DACS, London 2015.