It is well-known that London has a reputation for being the most visited city in Europe. However, it appears as though this isn’t enough to keep visitors coming back to visit anymore. A recent survey found that only 27% of people would recommend visiting London because they feel like they have seen everything there is to see.
The “us blastingnews” is a story that was posted to the “London museum’s new bragging right is nothing to brag about,” and it talks about how the museum has decided to stop boasting about its high numbers of visitors.
The claim from London’s The Courtauld Gallery about a first-ever exhibiting of Van Gogh’s art debuting next month sounds ridiculous, given the flood of Van Gogh exhibits that flood exhibit halls throughout the globe year after year.
“This will be the first time that the whole range of Van Gogh’s self-portraiture has been studied in an exhibition,” according to the claim. Is that something you can do? What’s more, does it make a difference? Isn’t it true that all of his selfies look the same?
It’s not like there’s nothing else to see at this museum. “The Courtauld caters for one of the biggest art collections,” according to its website. The collection includes items from the Middle Ages to the Present.
What took such a long time?
Here’s a new one for you. Why did it take 90 years to stage this display, given that The Courtauld Gallery has been established since 1932 and specialized in Post-Impressionist paintings like Van Gogh?
But hold on a second. Perhaps a better question is why hasn’t The Courtauld Gallery mounted a Degas exhibition? After all, it possesses two of his works that call for debate in this #MeToo era: “After the Bath – Woman Drying Herself” and “Dancer Looking at the Sole of Her Right Foot,” both paintings.
Both of these pieces denigrate women, as was Degas’ style. He was a misogynist, according to his own words. He told the painter Pierre Georges Jeanniot, “I have probably too frequently treated women as an animal.”
Degas allegedly wanted to capture the feminine figure in motion, according to art historians. But there’s a lot more going on. He captured ladies in graceful, graceless situations that seem to detract from their beauty.
The Courtauld Gallery’s artwork demonstrates the point. “After the Bath – Lady Drying Herself” is a voyeuristic depiction of a nude woman drying herself after a bath.
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Degas’ favorite subject was women in the bath. Each woman is Bathsheba without a tale, always faceless and devoid of individuality.
In a 1996 article for the New York Review, Robert L. Herbert described Degas as saying regarding his work, “One does not marry it…one rapes it.”
When it came to dancers, the models were always tiny underprivileged females he referred to as “the petit rats” and “little monkey chicks.”
Nonetheless, Alison Pill, who portrays his model, Marie, in the 1999 HBO film “Degas and the Dancer,” had a Hollywood-ized connection with him as his inspiration – as if a clumsy teeny-bopper and a pompous chauvinist inspire one other to greatness.
The narrative is told via an unlikely setting. “I think it’s lovely, like air,” Degas’ model says of one of his pastels, to which he responds, “Good words.” This is allegedly from a guy mentioned in historian Phoebe Pool’s 1967 book “Impressionism” as claiming that in the presence of art, ladies have “no sensibility at all.”
It’s no surprise that Mary Cassatt, whose work he despised, refused to speak to him for years. Degas was a male supremacist, according to all reports.
It’s worth noting that he depicted ladies at work – barmaids, dancers – entertaining/waiting on men, while his fellow Impressionists depicted women at play. Degas once painted a whole sequence of ladies ironing.
The Courtauld Gallery should have put on a display of Degas sculptures and paintings that showed how he considered young ballerinas as “little rodents” and women as thoughtless “an animal.”
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