Contributed by Margaret McCann / “The Soul of Nature”at the Metropolitan Museum of Art is one of many exhibitions dedicated to German Romantic painter Caspar David Friedrich (1774–1840) on the 250th anniversary of his death. Some of his finest are absent – the epic Sea of Ice’s vision of an arctic shipwreck, The Great Enclosure’s resonant view of a Dresden field Napoleon amassed his troops on, or Ruine Eldena, one of Friedrich’s many depictions of the remnants of the powerful Catholic monastery his hometown Griefswald formed around. But there are numerous studies displaying his keen observation of nature, research he used for paintings creatively orchestrated in the studio.
Tag: Peter Schjeldahl
“A long-lapsed wish for art that is both of the moment and genuinely public”
Recently, while preparing my upcoming Washington Square project, I’ve been wondering why MFA-trained artists direct their work so specifically to the art cognoscenti rather than […]
Peter Schjeldahl’s insouciance
In The New York Review of Books, Sanford Schwartz considers Peter Schjeldahl’s unique contribution to art criticism. “Schjeldahl addresses us in a conversational prose that […]
Modern Painters licenses critics and shortlists artist-collaborators
In a departure from the usual end-of-year roundups and top 10 lists, Modern Painters invited Peter Schjeldahl, Vince Aletti, Sarah Kent, and Matthew Collings to […]
Schjeldahl hurts David Bonetti’s feelings
St. Louis Post-Dispatch art critic David Bonetti has just finished reading Seven Days in the Art World, and he isn’t happy. “Rodney Dangerfield ain�t got […]
Measuring Marlene Dumas
Roberta Smith on Marlene Dumas: “The consistency of this show suggests an artist who settled too early into a style that needs further development. Stasis […]
Mir� Mir� on the wall
The New Yorker’s Peter Schjeldahl on the Mir� show at MoMA: “‘I want to assassinate painting,’ Joan Mir� is reported to have said, in 1927. […]
Morandi: “I don’t ask for anything except for a bit of peace which is indispensable for me to work.”
The big Giorgio Morandi survey that opens this week at the Metropolitan Museum features over 100 paintings, drawings, watercolors and etchings. In the New Yorker […]
Clement Greenberg vs. Harold Rosenberg
In The New Yorker Peter Schjeldahl reports that The Jewish Museum’s chief curator, Norman L. Kleeblatt, has focussed “Action/Abstraction” on the writers, interspersing paintings and […]
It’s official: Peter Schjeldahl writes good, er, I mean, well
The Sterling and Francine Clark Art Institute have named Peter Schjeldahl the winner of the 2008 Clark Prize for Excellence in Arts Writing. Established in […]
Book review: Let’s See
In bookforum, Alan Gilbert reviews Peter Schjeldahl’s new book, Let�s See: Writings on Art from the New Yorker. “What makes Schjeldahl a pleasure to read […]
Schjeldahl on Demuth: Slanting rays of abstracted light
Peter Schjeldahl reports: “Most esteemed for his floral and figurative, often homoerotic watercolors, Demuth in his painful last years, confined to his home town in […]
“All power to the hardboiled intellect”
Peter Schjeldahl writes about the Color Chart show at MoMA: “Predominant are attitudes of ironic detachment that derive from Marcel Duchamp, whose rebuslike canvas of […]
“Bitter slog” for painting in the Whitney Biennial
“Devotees of painting will be on a near-starvation diet, with the work of only Joe Bradley, Mary Heilmann, Karen Kilimnik, Olivier Mosset and (maybe) Cheyney […]
Schjeldahl on Lucas Cranach the Elder
“Lucas Cranach the Elder,” St�del Museum, Frankfurt, Germany. Through Feb. 17. Slide show. As an antidote to all the reports on contemporary art and the […]