Word: edwardian
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Dates: during 1990-1999
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...Currently in the midst of their annual capital campaign, the gallery is showing 100 works donated by 100 artists, each $100. Most pieces are small format, with a predominance of Paul Caulfield-esque Op-Art canvases. Save up your Dorm Crew earnings to purchase Juliann Cydylo's fanciful "Edwardian Encounter" cutout...
...political leaders of Edwardian Britain were utterly confounded by the energy and violence of this female rebellion, by the barrage of mockery, interruptions and demands the suffragists hurled and, later, by the sight of viragoes in silk petticoats, matrons with hammers, ladies with stones in their kid gloves, mothers and mill girls unbowed before the forces of judges, policemen and prison wardens. Many suffragists in Britain and the U.S. argued that the Pankhursts' violence--arson, window smashing, picture slashing and hunger strikes--was counterproductive to the cause and fueled misogynistic views of female hysteria. Though the question remains open...
...country and glory"--their motto reads in granite, barely legible. The infantrymen rise 15 ft. above the ground, an altitude that is microcosmic from the distance of the Sea of Tranquility. SIC TRANSIT GLORIA? As much can be said of the statue of Emmeline Pankhurst in London, her Edwardian gown antique against the constantly renewed moon, which has waned and waxed over her and other great men and women. It has lasted; they have gone the way of all flesh. Emmeline...
John Singer Sargent (1856-1925) was the last great society portraitist--the Van Dyck of his time, as Auguste Rodin was the first to say. Twenty years ago, to confess an admiration (however sneaking) for his work was to invite incredulity. Sargent? That flatterer of the Edwardian rich? That fat-cat holdover, that facile topographer of the social Alps, that living irrelevance to the concerns of modernism? But what goes around comes around. Sargent's reputation is back as though it had never gone away. Once again, if one can judge from the attendance at the Sargent show...
...buff hunting waistcoat and the dashing arabesque of paint with which, in a single loaded stroke, Sargent conveyed the fold of his breeches--a gesture as assured, in its way, as any brushstroke by de Kooning. With women Sargent was in his element, and icons of late-Victorian and Edwardian femininity rise from his work with wonderful directness: those all-time-champion Jewish princesses the Wertheimer sisters, zaftig and bursting with life, or the paler and more shadowed beauty of Lady Agnew of Lochnaw...