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XIII THE ARTS AND LITERATURE: CHAPTER 1. THE ARTS
INTRODUCTION (pg. 422-423). OPERA (pg. 423-426). BALLET (pg. 426-428). THE THEATRE (pg. 428-432). ART (pg. 433-437). MUSIC (pg. 437-443). THE CINEMA (pg. 443-447). TELEVISION AND BROADCASTING (pg. 447-453). INTERNATIONAL BROADCASTING (pg. 447-451). BRITISH TELEVISION AND BROADCASTING (pg. 451-453). ARCHITECTURE (pg. 453-456).
Book Chapter
Seeing Baya : portrait of an Algerian artist in Paris
\"On November 22, 1947, a fifteen-year-old prodigy from colonial Algeria named Baya exhibited her paintings and clay sculptures at the Parisian gallery of the art dealer Aimé Maeght. Her opening attracted some of the most influential cultural figures of postwar Paris, including Albert Camus, André Breton, Henri Matisse, and Georges Braque. Alice Kaplan's biography begins on that November day, in that gallery, then moves from Baya's beginnings as a farmworker to her Parisian triumph, through her death in Algeria in 1998, by then a cultural icon of independent Algeria. Orphaned at age nine, Baya was working on a flower farm when she caught the eye of a French woman, Marguerite Caminat, whose interest in the girl changed her life. The relationship of support and affection between the indigenous Algerian artist and her French mentor was fraught with ambiguity. Baya worked as Caminat's maid but came to see herself as the woman's adoptive daughter; Caminat nurtured Baya's gift and saw the child as the artist she herself once aspired to be. The French press of 1947 celebrated the young artist with all the predictable clichés: the orphan rescued by the white fairy godmother, the wild child civilized, the ignorant genius on display. In Seeing Baya: Portrait of an Algerian Artist in Paris, Kaplan considers the differences that Baya makes to the stories we have told about modern art and postwar culture in France. She unravels the human sentiments at play in this history, from the noble to the venal to the obscure, and probes the motivations of the characters surrounding Baya, scrutinizing them from different angles as they respond to the singular itinerary of the young artist. Seeing Baya reveals a fascinating and significant life, one of survival, resistance, and irrepressible talent\"-- Provided by publisher.
BOOK
Sargent and Paris
\"Sargent and Paris explores the early career of American painter John Singer Sargent (1856-1925), from his arrival in Paris in 1874 as a precocious 18-year-old art student through the mid-1880s, when his infamous portrait Madame X was a scandalous success at the Paris Salon. Over the course of one extraordinary decade, Sargent achieved recognition by creating boldly ambitious portraits and figure paintings that pushed the boundaries of conventionality. Immersed in a cosmopolitan circle of artists, writers, and patrons, Sargent was able to navigate a successful path through the French exhibition system while achieving acclaim and awards. Beyond the portrait studio, he traveled in search of inspiration for his art--finding subjects in Italy, the Netherlands, Spain, and North Africa. This exhibition gathers Sargent's diverse works from this period to illuminate his path to becoming an artist, which was indelibly shaped by his experiences in the French capital. These visually stunning works provide a compelling view of the Paris art world of the late 19th century. The iconic Madame X, a beloved highlight of The Met collection, is the culmination of Sargent's early years in Paris. The exhibition will take an in-depth look at this captivating portrait and the numerous preparatory sketches, and it will be displayed alongside select portraits of Parisiennes by Sargent's contemporaries.\" -- Metropolitan Museum of Art website
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