- François-Louis-Joseph Watteau, “Battle of the Pyramids” (1798-1799) — more related works here
- Seattle’s Frye Art Museum show a few years ago, Napoleon on the Nile, and one at the Institut du Monde Arabe in 2008 titled Napoleon and Egypt: Fire and Lights
- You may also be interested in perusing the drawings of Jean-Baptiste Lepère, who accompanied Napoleon to Egypt and became renowned as the the foremost architectural draughtsman on the expedition. An exhibition of his drawings took place last year at the Wallraf-Richartz-Museum & Fondation Corboud in Cologne (there’s a small slideshow on the site)
- And if all this isn’t enough for you, take a look at a blog devoted to Napoleon’s Egypt, though there are few images and it hasn’t been updated for quite a while.
Institutional whitewash has been an integral part of the story of outdoor mural painting in Los Angeles since David Alfaro Siqueiros invented the genre in the summer of 1932.
… outdoor murals inadvertently grew out of the fresco class. Siqueiros felt that the only way to teach the technique was through example, and he asked the owner of the school, Nelbert Murphy Chouinard, if he could create a fresco in the classroom … Chouinard refused permission, offering instead an exterior wall in the school’s sculpture court. Siqueiros leapt at the challenge.
… Something like eight hundred people came to the unveiling of the mural on July 7, 1932, and already there was some scandal because the mural showed what looked like a union meeting at a time of labor unrest, with the extra frisson of an African American male depicted on equal footing with a white female. Within two weeks the entire work had disappeared, and it was unclear if this was the result of faulty technique — the color sinking into the still-drying cement — or an act of censorship on the part of the school authorities.
The Nazis brand may indeed be uniformly distinctive, but for all the significance they placed on graphic design, there was more variety and greater leeway than one might think.
What are the defining aesthetics of art in the networked era? How is mass collaboration changing notions of ownership in art? How does micropatronage change the way artists produce and distribute artwork?
In that year, [Raymond Kurzweil] estimates, given the vast increases in computing power and the vast reductions in the cost of same, the quantity of artificial intelligence created will be about a billion times the sum of all the human intelligence that exists today.
Required Reading is published every Sunday morning at 7am-ish EST, and it is comprised of a short list of art-related links (10 or less) to long-form articles, videos, blog posts or photo essays worth a second look.
Image caption: Jean-Léon Gérôme, “Bonaparte Before the Sphinx” (1967-8), in the collection of the Hearst Castle, San Simeon, California, USA (via Wikipedia)
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