William Glackens’s Girl with Apple, a studio nude painted for exhibition, was unusual in the context of his own work and that of his American peers. Glackens was responding to the long tradition of daring European nudes that had culminated in Édouard Manet’s startling Olympia. But what did this work mean in the context of 1910 New York? Was this a new bohemian ideal? Or was it all about Eve?
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During the 1870s, American trompe l’oeil painting enjoyed a rebirth. Usually seen as trickery, deception, or humor, Dr. Judith Barter’s lecture addresses trompe l’oeil as a type of painting that contained modern ideas. These contain narratives that reflect a new consumer culture, standardization and professionalism, memory and reality, and the very nature of painting itself.
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