Oh, the Humanities!
March 26, 2010
Why draw from the model? A number of years ago, my husband and I and some friends—all, except for me, artists who also teach at art schools here in New York—spent hours discussing this question, though without arriving at anything particularly convincing. A few of them recalled drawing from the model as undergraduates, but none had done so in graduate programs—these were the heady, experimental days of the early '70s, when all the action took place in the seminar room; in my husband's program, studios had been dispensed with altogether.
Signs of the Times
July 30, 2001
John Ruskin: The Later Years by Tim Hilton (Yale University Press, 656 pp., $35) In the second volume of John Ruskin's three-volume study The Stones of Venice, which appeared in 1853, there is a chapter titled "The Nature of Gothic." It opens conventionally enough, with Ruskin promising to describe the "characteristic or moral elements" of the Gothic; but readers who were familiar with Ruskin's earlier works, Modern Painters and The Seven Lamps of Architecture, and who had been dazzled by his word-pictures of works of art and scenes of nature, could not possibly have expected a straightforwar