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By Alessandra Borgogelli

Giovanni Boldini (Ferrara, Italy; 31 December 1842 – Paris, France; eleven July 1931) was once an Italian style and portrait painter. in keeping with a 1933 article in Time journal, he was once referred to as the "Master of Swish" due to his flowing type of painting.

Nella presente pubblicazione vengono presentate los angeles vita e le opere di Giovanni Boldini (Ferrara 1842 - Parigi 1931), un pittore che vive due realtà, quella macchiaiola e quella impressionista, impostando uno stile tutto suo che lo porterà a dissentire sia dell'una che dell'altra e comunque a non aderire passivamente a nessuna delle due.


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I doubt I’m telling you something you don’t already know, but here’s a rule to live by: Never trust a place mat. The paintings of Claude Monet are even more meanly diminished by reproduction. Since unlatching an outrageous new style called Impressionism in 1872, Monet has been turned by thousands of postcards and souvenir scarves into Mr Nice – an artist of mild afternoons, pond-side strolls and fleeting, sun-kissed scenes. I don’t for a minute want to disparage such pleasures, but the mildness of the postcard Monet is a long way from what you see when, for instance, you encounter Monet’s 1890 Haystacks, midday at the National Gallery of Australia.

It marks time. Leaves a note for the future. ’ We gallery-goers can be arrayed between two extremes, according to the time we take. At one extreme are the Slowlys, let’s call them. At the other, the Suddenlys. The Suddenlys want an experience that’s total, instant – an epiphany that hits like a freight train. The French painter Bernard Buffet once boasted that ‘a hundredth of a second is enough to judge a painting’. Certain critics from the 1960s were reputed to judge art almost as fast. As American philosopher and art critic Arthur Danto records in a marvellous essay called ‘Quality and Inequality’, the controversial director of New York’s Metropolitan Museum of Art from 1967 to 1977, Thomas Hoving, took this show manly style to an extreme, claiming that ‘the first impression of a work of art is the whole pedigree … The speed wipes away false hopes and inflated dreams’.

They also encourage the regrettable impulse not to see great works, but to ‘do’ them. You pay your money, pass through the turnstile and there hang the paintings, many flown in at astonishing cost. ) You give each masterpiece a few minutes of fidgety reverence and then lockstep it with the crowd to the next on the list. If you’ve travelled 20 hours on a plane to see the show, perilously high expectations are even harder to avoid. The problem is, you’ve been told in advance what kind of experience you’re going to have.

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