The Easel

28th January 2025

The birth of modernism in Brazil: ‘A young, ambitious nation trying to express itself’

Modernist thinking, once thought exclusively European, was, at the start of the 20th century, also happening elsewhere. Brazilian artists, facing a conservative art establishment, engaged with Europe’s avante garde and began developing a modern visual identity. Given Brazil’s diversity, its art is complex, limiting its international profile. At least one critic dislikes this London survey of 10 major artists but even he concedes that they have given modernism “funk and fun”.

Once Upon a Time: Art Before the Internet

This show was overed in a pre-Xmas newsletter, but this piece better highlights changing attitudes to digital art. Since 1960, artists have shown a fascination for two main themes. Will technology be a “utopian enabler” of human communication? And will technology produce new aesthetic experiences? Notwithstanding mass computing, and now AI, the prevailing view seems to be that “machines can’t see like humans can”. A “revolutionary fusion of aesthetics, technology and society” doesn’t seem imminent.

17th December 2024

Versailles: Science and Splendour, Science Museum: A masterclass in storytelling

Can a science exhibition be an exhibition of art?  France’s Louis XIV, the Sun King, surrounded himself with various scientific instruments that advertised his erudition and power, But are they any more than “vapid opulence”? Still, if not every item is artistic, at least the exhibition can boast the fabulous Breguet watch 160, made for Marie Antionette. With its intricate engineering and elaborate case, it is the ultimate combination of science and the decorative arts.

Parmigianino: The Vision of Saint Jerome at the National Gallery

When the Renaissance artists got bored with scientifically accurate perspective and proportion, they came up with mannerism – a “flaunting of style and distortion”. Parmigianino went all in on this and, at the tender age of 23, produced one of the style’s masterpieces. Hanging in London, it was regarded as a “mustardy-yellow monstrosity” until a 10 year restoration. Now, says one writer it is “one of the UK’s most mesmerising works of Renaissance art.”