Late Painting Research Articles

A Comparative Study of Early and Late Painting Styles in Zhang Daqian’s Lotus Works

A Comparative Study of Early and Late Painting Styles in Zhang Daqian’s Lotus Works

New evidence of early Holocene naturalistic rock art in Jinsha River valley, southwestern China

More than 70 rock painting sites have been discovered in the Jinsha River valley in northwestern Yunnan Province of southwestern China. These sites are dominated by naturalistic animal paintings and display certain similarities with the oldest hunting–gathering rock art discovered across the world. The Baiyunwan rock shelter is representative of the corpus of the Jinsha rock-art sites, comprising 15 identifiable naturalistic animal paintings in addition to several unidentifiable paintings. However, to date, the age estimation of these precious rock paintings lacks precision. Thus, this study performed U-series dating of carbonate samples (in total, 32 subsamples) to constrain the minimum and maximum ages of the Baiyunwan rock paintings. The U-series ages were corrected with a site-specific value of the initial 230Th/232Th ratio determined by isochron analyses, and the age reliability was evaluated by stratified dating analyses. Moreover, we used Bayesian age modeling to combine the individual age estimates and considered previously published data. The age range of the Baiyunwan rock paintings was determined as 7.09–8.93 ka, with a probability of 95 %. This age estimate corresponds to the late painting phase documented at Wanrendong Cave (∼8.37–8.70 ka), located within the same region, and provides new evidence for early Holocene naturalistic rock paintings in the Jinsha River valley, Yunnan, southwestern China.

Find A Face

is the thing my phone tells me as I’m trying to photograph Cézanne’s paint palette under glass. Find a face amid arterialization, the bluish spatters delicate as micro-written cursive. Find a face in a tangled marble swirl. These are his Prussian blues, the indigoes Cézanne used to outline the three quasi-pyramidal skulls that populate a certain late painting: each smoked trace makes a velveteen aura for each cranium, cushioning the probable clank of bone on bone in his initial arrangement on the softened table. Find a face when you etherize your images, booting your desire up, and notice beauty’s parceled out so profligate earthward. Find a face in those skulls Cézanne blanketed, his pitcher whose knowing gleam arrests you like an eye.

An Investigation into the Pigments Present on the Late Paintings and Ephemera of Barnett Newman: Context and Correlations

ABSTRACT Barnett Newman, a seminal figure in the Expressionist movement, is known to have used Bocour Magna, Aqua-tec, and oil paints. XRF analysis reveals that paints on his paintings dating from 1967 to 1970 and on his undated ephemera in the Center for the Technical Study of Modern Art at Harvard Museum and the Menil Collection most often do not correspond to the pure historic Bocour paints available for analysis. Newman likely mixed his paints to create specific colors, and multiple instances of his revision of color have been documented. Some of the paints on the paintings are similar to unlabeled jars of red and blue acrylic paints found in his studio after his death, which could contain bespoke formulations created for Newman by the Bocour Company. The white paints and grounds present on the paintings and ephemera are all titanium white based; early works have no calcium, but later works have increasing amounts, suggesting that Newman may have been adding more calcium carbonate as an extender over time. The similarities in white paints on groups of paintings and ephemera suggests Newman used a given paint mixture on multiple objects, which would allow temporal relationships between those objects to be established.

FASHIONING MODERNISM

: This essay asks why modernist art history has been unable to account for the career of the African American painter Rose Piper. One of the most gifted painters of her generation, Piper was also among the least prolific. Her career is bookended by two important solo exhibitions. The gap between these shows, filled by a career in textile design, is typically narrated in terms of the degeneration of promise and the wasting of creative talent. Piper’s designs mark a break in the progressive arc of her life. They split her late paintings from the early ones and have seemed to shut off the potential for sensitive criticism. But her modernism refuses such distinctions. Piper used her early paintings to interrogate reification, commodification, and economic compulsion as they interacted with questions of racial oppression. These images interrogated the legacy of the Harlem Renaissance and the options remaining open for black modernist art. Her late paintings, produced after thirty years at work in the textile industry, need to be read as the culmination of this project rather than as an unfortunate diversion. In them, she directed the technical and institutional knowledge gleaned from her career as a designer towards a searching, self-reflexive critique of race, gender, and the commodity form. These images open the way to a renewal of black modernism.

Oriental Elements in Cezanne’s Art

Paul Cezanne is one of the representative artists of post-impressionism in France. In the early 19th century, Japanese paintings were famous and influenced by the second industrial revolution and respected Oriental works of art. Many Western artists initially increased Oriental elements to create but superficial. In the mid-19th century, with the emergence of Oriental art stores in the streets of France, the popularity of Oriental works has been further developed. Until the late 19th century, represented by Cezanne artists, art has been dared to explore and innovate on the road. Painting, especially in the late paintings of many potential injections of Oriental elements. Cezanne did not go to the East; a visible blend of Eastern and Western art exploration seems to have a hidden fusion very early. Therefore, this paper attempts to conduct a preliminary discussion on three aspects of composition, artistic temperament, and color, which helps us further explore the early integration of Eastern and Western art.

The Waiting-Servant Motif in a Late Antique Textile in Chicago: Iconography, Visuality, and Materiality

This article explores the use and adaptation of the iconographic motif of the waiting servant, known primarily from late Roman wall paintings, mosaics, and other media, within the sphere of Late Antique furnishing textiles. Taking as a case study a fifth- to sixth-century CE hanging in the Art Institute of Chicago’s collection, the first section argues that the addition of elaborate, multihued architectural settings and floral motifs in this hanging and several comparable examples built upon the existing waiting-servant iconography offer an enhanced message of “the good life” within the household. Such compositional elements were rooted in earlier Greek and Roman artistic traditions, namely architectural polychromy and the visual interplay between artifice and reality. However, they also exemplify the Late Antique “jeweled style”, an aesthetic characterized by dazzling visual and polychromatic effects and an interest in artistic mimicry of other media. Striking visual parallels between the waiting-servant hangings and contemporary painted interiors suggest that textiles were considered on par with permanent media and operated in a system of cross-media artistic exchange. The article concludes with a consideration of the materiality of the Chicago hanging and its potential functions within a Late Antique residence, exploring how its portability as a woven object encouraged its flexible use within the home and allowed it to convey and even amplify particular messages through its juxtaposition with other objects, architecture, or people.

The Impact of Cezanne in Early Cubism

The 1907 Salon d’Automne included a Cézanne retrospective. Comprising fifty-six of his works, most of them oils, it featured a group of late paintings, among them some nominally “unfinished.” It had not been until his final years that the painter had begun to have wider public appeal. Now he had become the focus of attention of the avant-garde. Leo Stein recounted this transformation: “Hitherto Cézanne had been important only for the few; he was about to become important for everybody. At the Salon d’Automne of 1905 people laughed themselves into hysterics before his pictures, in 1906 they were respectful, and in 1907 they were reverent. Cézanne had become the man of the moment.” And Picasso would say: “For us, Cézanne was like a mother who protects her children ... He was my one and only master ... I’ve spent years studying his pictures ... Cézanne! He was as you might say a father to us all. It was he who protected us.” The article explores the influence the Master of Aix had on both the Spaniard and his French colleague Georges Braque as they developed the ideas of what would become Cubism.

Bonnard and the Folding Screen: Toward a Theory of Ornamentalism

Abstract Bonnard’s folding screens are generally understood as part of the phenomenon of japonisme, a widespread fascination with Japanese culture in Europe that emerged during the second half of the nineteenth century. When they begin to appear and then alter the representation of space in Bonnard’s painting, however, japonisme no longer provides an adequate framework for understanding their role in his art. I endeavor to account for the continued life of the non-Western object in the Western context by highlighting the folding screen’s capacity to disrupt and engender change even as it disappears from Bonnard’s late paintings. After an overview of the artist’s folding screens and their relation to japonisme, I trace their migration into Bonnard’s paintings, where the limits of this Western construct become more apparent. I propose an alternate framework—ornamentalism—within which to interpret their integration into the compositional structure of the late paintings. Ornamentalism views the ornamental object as a subject whose power to act is tied to its own degradation under imperialist and colonialist practices. Through it, I consider how the evolution of the folding screen in Bonnard’s art can help us think differently about the dynamics between Western artists and non-Western objects.

Ilya Repin: From Raising to Resurrection

The diversity of topics and ideas in the art of Ilya Repin (1844–1930) has long been seen as a result of the artist’s changeability, the inconsistency of his views and the suddenness of his creative talent. Therefore, it is important to show the integrity of Repin’s artistic world and to discover a certain foundation for his professional activity. This article traces the artist’s path from the early academician work “The raising of Jairus’ daughter” to one of his late paintings, “The Golgotha”. If you try to assess a vast number of Repin’s picture motifs you’ll see that over the whole course of his professional career he was working step by step on the subject of life and death, demonstrating interest in the meanings of human existence. These aspects worried the painter in connection not only with Gospel subjects but also with historical pictures and portraits.

The role of smalt in complex pigment mixtures in Rembrandt\u2019s Homer 1663: combining MA-XRF imaging, microanalysis, paint reconstructions and OCT

As part of the NWO Science4Arts REVISRembrandt project (2012–2018), novel chemical imaging techniques were developed and applied to the study of Rembrandt’s late experimental painting technique (1651–1669). One of the unique features in his late paintings is his abundant use of smalt: a blue cobalt glass pigment that he often combined with organic lake pigments, earth pigments and blacks. Since most of these smalt-containing paints have discolored over time, we wanted to find out more about how these paintings may have originally looked, and what the role of smalt was in his paint. This paper reports on the use of smalt in complex pigment mixtures in Rembrandt’s Homer (1663), Mauritshuis, The Hague. Macroscopic X-ray fluorescence imaging (MA-XRF) assisted by computational analysis, in combination with SEM-EDX analysis of paint cross-sections, provides new information about the distribution and composition of the smalt paints in the painting. Paint reconstructions were carried out to investigate the effect of different percentages of smalt on the overall color, the drying properties, translucency and texture of the paint. Results show that the influence of (the originally blue) smalt on the intended color of the paint of the Homer is minimal. However, in mixtures with high percentages of smalt, or when combined with more transparent pigments, it was concluded that the smalt did produce a cooler and darker paint. It was also found that the admixture of opaque pigments reduced the translucent character of the smalt. The drying tests show that the paints with (cobalt-containing) smalt dried five times faster compared to those with glass (without cobalt). Most significantly, the texture of the paint was strongly influenced by adding smalt, creating a more irregular surface topography with clearly pronounced brushstrokes. Optical coherence tomography (OCT) was used as an additional tool to reveal differences in translucency and texture between the different paint reconstructions. In conclusion, this study confirmed earlier assumptions that Rembrandt used substantial amounts of smalt in his late paintings, not for its blue color, but to give volume and texture to his paints, to deepen their colors and to make them dry faster.

За пределами суровости: портрет 1990-х годов в живописи Игоря Симонова

Поздняя живопись уральского художника Игоря Симонова, известного зрителю картинами «сурового стиля», менее всего отмечена как публикой, так и критиками. Статья посвящена описанию трех картин художника этого периода творчества, определивших его основные мировоззренческие и художественные установки. «Аллегория» 1988 года открывает другой этап вчерашнего мэтра «сурового стиля», став картиной-предтечей новых форм искусства в 1990-е годы. Картина «Наш паровоз…» показывает человека в общественной жизни после перестройки, выведенного на холсте до портретного образа. «Автопортрет 1997 г.» дает представление о широте живописного таланта И. Симонова в условиях самоощущения художника в совершенно иной обстановке для жизни и работы. Это квазипортрет эпохи и трагедия ее современника в зеркале истории. Другие картины этого времени упоминаются в статье эпизодически, дополняя наше знание о творческом наследии художника, жившего большую часть жизни на Урале, в Свердловске-Екатеринбурге, до 2019 года. The late paintings of the Ural artist Igor Simonov, known to the viewer with paintings of the “severe style”, are least noted by both the public and critics. The article is devoted to the description of three paintings by the artist of this period of creativity, which determined his main ideological and artistic orientations. The “Allegory” (1988) opens another stage of the recent master of “severe style”, becoming the forerunner of new forms of art in the 1990s. The painting “Our Locomotive...” shows a person in public life after perestroika, displayed on canvas to a portrait image. “Self Portrait 1997” gives an idea of the breadth of the artistic talent of I. Simonov in the conditions of the artist's self-awareness in a completely different, unusual environment for life and work. This is a quasi-portrait of the era and the tragedy of its contemporary in the mirror of history. Other paintings of this time are mentioned occasionally in the article, supplementing our knowledge about the creative heritage of the artist, who lived most of his life in the Urals, in Sverdlovsk (later Ekaterinburg), until 2019.

Esra Akın-Kıvanç. Review of "The Making of the Artist in Late Timurid Painting" by Lamia Balafrej.

Esra Akın-Kıvanç. Review of "The Making of the Artist in Late Timurid Painting" by Lamia Balafrej.

Three Orthodox Temples of Lappeenranta — Art Through the Prism of History

The article discusses the history of the creation of three Russian military churches in the Finnish city of Lappeenranta (Villmanstrand), representing vivid examples of stone and wooden architecture: churches of the Protection of the Virgin (The Intercession church) (1785), St. Nicholas the Thaumaturge (1904) and the Nativity of Christ (1914). A comprehensive analysis of the history of construction, architectural features and preserved decoration of the mentioned churches, which are significant for Russian Orthodox church construction abroad, is presented for the first time ever in the article. The Intercession Church in the Villmanstrand Fortress is the first brick freestanding Russian church built in Western Europe. The dynamics of changes of the temple as a result of reconstruction and renovation of the decoration is considered. For the first time, the church works of academician Nikanor Tiutriumov (1821–1877) for the Intercession Church are described and late painting interventions in unsigned images, which may also belong to Tiutriumov, are analyzed. The history of the construction of the wooden camp church of St. Nicholas the Thaumaturge is outlined, the uniqueness of which was expressed in the rich carved decor that distinguished the church from other Russian wooden churches in Finland. However, in the early 1920s the church was dismantled and only a few archival photographs make it possible to recreate its appearance. For the dragoon regiment stationed in Villmanstrand, a regiment church in the neo-Russian style was built according to Georgy Kosyakov’s design — the only example of this kind in Finland and one of the few examples of this style in Western Europe. After 1918, the church building was transferred to the Lutheran community and modified by the removal of domes and a radical redevelopment. The degree of embodiment of the architect’s original plan based on the author’s drawings and preserved photographs is analyzed.

Charles White

The recent exhibition Charles White: A Retrospective (Museum of Modern Art, New York, October 7, 2018–January 13, 2019) offered a chance to consider the technical and iconographic breadth of an oeuvre that has been exhibited mainly in sporadic doses for the past few decades and has expanded in scope through recent attention from a subsequent generation of African American artists, including several students as well as art scholars. White (1918–79) was vocally committed from the mid-1960s through his final decade to African American art subjects in tandem with social issues, climactic in poignant, politically charged lithographs in a realist drawing style set in increasingly abstract environments. By then associated with the Black Arts Movement, he continued to recycle historical figures and references from his earliest work in the milieu of a Black Renaissance in Chicago and bolstered by the Works Progress Administration, which, with reciprocal viewing, takes on a collective modernist context in terms of current events related to African American experience and American life broadly, even where allegorical. White’s prolific graphic experimentation yielded varied surface patterns that often evoke content-laden textures, elided into several distinctive late paintings also featured.

This issue of Acta Sept 2018

The cover illustration shows a macular haemorrhage, as described by Schargus from Dusseldorf in the electronic part of this issue. Vaes et al in the Netherlands and Belgium point to microvascular changes in retina of patients with chronic obstructive pulmonary disease. Ramdas in Maastricht reviews the literature on dietary influences in glaucoma. Iron and selenium may increase risk, and leafy vegetables decrease risk of glaucoma. However, the data are limited. Bengtsson et al and Lindén et al in Sweden describe the ongoing GLAUCOMA INTENSIVE TREATMENT STUDY and show that intensive treatment lowers IOP more than monotherapy. The study will determine the effect of intensive glaucoma therapy on visual field progression and predict vision loss at life's end. Willekens et al in Belgium and Portugal found that some glaucoma patients have posterior vitreous detachment at an older age than healthy controls. Farhoudi et al in Sweden demonstrate that patients benefit from new spectacle following cataract surgery. Stolk-Vos et al in the Netherlands emphasize the advantage of recording patient-reported visual function and recommend the Catquest-9SF questionnaire. Grimfors et al in Sweden use the Swedish National Cataract Register to demonstrate a correlation between patient-reported improvement and visual function on the one hand and surgical complications, comorbidities, age, gender and visual acuity on the other. Næser et al in Denmark and Italy show that corneal astigmatism is stable until age 50 and changes by 0.25 dioptres every 10 years thereafter. Frimmel et al in the Netherlands and Switzerland report significant eye trauma from fireworks on new Year′s Eve. Sahraravand et al in Helsinki found falls at home to cause most eye injuries in elderly Finns. Bro and Lindblom in Sweden point out that visual requirement for driving are variable in Nordic countries. Mourits et al in the Netherlands looked at cosmetic outcomes following enucleation or radiation for retinoblastoma. Orbital implant complications were manageable, whereas external beam radiation gave less favourable cosmetic outcomes. Scheerlink et al in the Netherlands found better foveal sensitivity on microperimetry with gas compared with silicone oil tamponade for retinal detachment. Leinonen et al in Helsinki used intravitreal steroid implants to treat uveitis-related macular oedema. Pérez-Trullén et al in Spain propose that Goya had age-related cataract and this influenced his late paintings. The following articles are published electronically and are accessible on www.actaophthalmologica.com, as are all articles in Acta for the last century. Leal et al in Portugal and UK conclude that intravitreal injection of anti-TNF antibodies is a possible but not proven treatment for noninfectious uveitis. Zhu et al in China provide a comprehensive review on exercise and glaucoma, including the possible effect on IOP, blood flow and neuroprotection. Kang et al in United States and Australia found that total flavonoid intake does not influence glaucoma risk. Mataki et al in Japan correlated beta peripapillary atrophy with age, lower IOP and disc-fovea distance. Rabensteiner et al in Austria found Meibomian gland dysfunction to play a major role in dry eye, often in combination with reduces aqueous tear secretion. Klingensteiner et al in Munchen recommend PET scanning for orbital adnexal lymphomas. Liu et al in China influence angiotensin pathways in retina with microRNA. This affects proliferation and apoptosis in retinal endothelial cells in diabetic rats. Rose et al in Canada and Australia measure changes in retinal perfusion and oxygen metabolism in radiation retinopathy. Hanhart et al in Israel suggest that bevacizumab intravitreal injections may increase mortality in patients who have recently suffered TIA or stroke. Blixt et al in Denmark and Sweden found that endothelin-1 induced vasoconstriction in retina can be suppressed and this may offer treatment possibilities in retinal ischaemia. Subhi and Sörensen in Denmark view pigment epithelial detachment in 3D and measure volume. They suggest that such analysis may be superior to current practice. Shargus in Dusseldorf supplied the cover illustration of a picturesque retinal haemorrhage. Ferreira et al in Portugal used infrared pupillometry to demonstrate transient pupil changes following laser iridotomy. Diederen et al in the Netherlands recommend Baerveldt implants in uveitis glaucoma in young patients. Vohra et al in Denmark found vision loss in a patient with cerebral amyloid angiopathy. Grzybowski and Nowak in Poland found similar rate of myopia in Polish children as in other Caucasian cohorts. Schrader et al in Germany present a plastic compressed collagen device, which they transplanted onto the corneal surface of a patient with corneal ulcer. Krohn et al in Norway describe a slowly progressive RPE dysgenesis with severe visual loss. I hope this issue of Acta provides pleasant and informative reading in the cool and dark evenings ahead.

Separating two painting campaigns in Saul and David, attributed to Rembrandt, using macroscale reflectance and XRF imaging spectroscopies and microscale paint analysis

Late paintings of Rembrandt van Rijn (1606–1669) offer intriguing problems for both art historians and conservation scientists. In the research presented here, the key question addressed is whether observed stylistic differences in paint handling can be correlated with material differences. In Saul and David, in the collection of the Royal Picture Gallery Mauritshuis in The Hague, NL, the stylistic differences between the loose brushwork of Saul’s cloak and the more detailed depiction of his turban and the figure of David have been associated with at least two painting stages since the late 1960s, but the attribution of each stage has been debated in the art historical literature. Stylistic evaluation of the paint handling in the two stages, based on magnified surface examination, is further described here. One of the research goals was to determine whether the stylistic differences could be further differentiated with macroscale and microscale methods of material analysis. To address this, selected areas of the painting having pronounced stylistic differences were investigated with two macroscopic chemical imaging methods, X-ray fluorescence and reflectance imaging spectroscopies. The pigments used were identified and their spatial distribution was mapped. The mapping results show that the passages rendered in more detail and associated stylistically with the first painting stage, such as the orange-red color of David’s garment or the Greek key design in Saul’s turban, were painted with predominately red ochre mixed with vermilion. The regions of loose, bold brushwork, such as the orange-red slashing strokes in the interior of Saul’s cloak, associated with the second painting stage, were painted with predominately red ochre without vermilion. These macroscale imaging results were confirmed and extended with scanning electron microscopy with energy-dispersive X-ray spectroscopy (SEM–EDX) analysis of three cross-sections taken from regions of stylistic differences associated with the two painting stages, including one sample each from the right and left sleeve of David, and one from the interior of Saul’s cloak. SEM–EDX also identified a trace component, barium sulfate, associated with the red ochre of the second stage revisions. Combining mapping information from two spectroscopic imaging methods with localized information from microscopic samples has clearly shown that the stylistic differences observed in the paint handling are affiliated with differences in the chemical composition of the paints.

金正喜 墨蘭 화풍 중의 揚州八怪 영향 연구 : 『蘭盟帖』을 중심으로

Kim Jung-hee was a Real scientist and painter at last phase of Choson, who had been in the name of junior officer to follow his father Kim Nogyeong sent to Qing Dynasty on a diplomatic mission in 1809. Although this diplomatic mission to Beijing endured only two months, Kim Jung-hee developed a close friendship with the renowned litterateur, confucian scholars and painters at that time. This communication experience helped Kim Jung-hee open his eyes and accept advanced ideas and viewpoints in Qing Dynasty at that time. He gradually established his unique understandings on painting and became an important figure leading the last phase of Choson painting.BR Throughout Kim Jung-hee’s paintings, two-thirds are dark-inked orchids, which has been thought as a theme mostly reflects his aesthetic ideas. 〈Orchid and Caligraphy〉 is Kim Jung-hee’s early painting, which was largely influenced by Eight Eccentrics of Yangzhou both in the compositions and skills. He quoted many poems of Zheng Xie on the painting work and most compositions and skills are similar to Luo Pin.BR So this article will review the paintings of Eight Eccentrics of Yangzhou which have spread to Choson or have been inspected by Kim Jung-hee so as to discover the influence by Eight Eccentrics of Yangzhou on Kim Jung-hee and the positive influence of Kim Jung-hee’s painting ideas and styles on his own late painting works and on his students and even on the last phase of paintings in Choson as a whole.

Did poor eyesight influence Goya's late works? Medicine and art history in search for an interpretation of Goya's late paintings.

The aim of this article is to 'determine' the scope of Goya's eyesight difficulties and assess the extent to which those difficulties might explain his style of painting in the last years of his life. We analyse the correspondence and late works of the Aragonese painter Francisco de Goya y Lucientes (1746-1828), who has been admired for his use of colour, his energetic loose brushstrokes, his disregard for details and his bold compositions, as well as for his different artistic styles throughout his life. The evolution of Goya's style of painting in his later works seems to have been the consequence of an eyesight condition, probably age-related cataracts at an advanced stage. The faded dark backgrounds, which become blurred with the silhouette of the person portrayed, could indicate a certain degree of eye strain. This can be traced in all these works, but is especially evident in the unfinished portrait of Pío de Molina (1827-1828), as well as in the portraits of Mariano Goya, the artist's grandson (1827), and Jacques Galos (1826). It has been considered that the late and isolated Goya's sight problems were a belated consequence of his severe illness of 1792. Nevertheless, in our opinion, this is a simplistic explanation and, given the painter's age, it is logical to presume that their cause could be age-related lens opacities. This article argues that medicine may become a subsidiary science to art history, as it can provide empirical evidence of the way painters' illnesses may have a strong impact on their artworks.

A Short History of the Picture as Box

In “The Crisis of the Easel Picture” (1948), Clement Greenberg compares the easel picture, disparagingly, to a box-like cavity cut into the wall. In this essay, I argue that late medieval panel paintings—which indeed often took the form of boxes—show Greenberg to be justified in making this comparison, if not in doing so disparagingly. But what Greenberg failed to fully acknowledge is that the easel picture had already long tried to escape this condition through the opening of the metaphor of the window. Failing to recognize this earlier effort to escape the material conditions of the box, many modernists and postmodernists, like Greenberg, attempting to move beyond the easel picture in the name of an art undivided from life, have unintentionally upheld the easel picture’s own escapist ideology.