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Lecture 25

FIN 302 Lecture 25: 03.24.17

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University of Michigan - Ann Arbor
FIN 302
Denis Sosyura

Artistic Canons and the Modern Avant-Garde - Alex Potts DUCHAMP’S FOUNTAIN - Issue of the magazine The Blind Man (May) 1917 featuring an article on the rejection of Duchamp’s Fountain from the Independents Exhibition in New York. Captions to the photo (clockwise from top left: “Fountain by R. Mutt” photographed by Alfred Stieglitz “THE FOUNTAIN REJECTED BY THE INDEPENDENTS” - Venus de Medici & Laocöon and his sons - How did these sculptures get their perfect natures? - They were written about/imitated often RAPHAEL - SCHOOL OF ATHENS - The painting reflects the classical architecture and classical philosophy - It is an economical masterpiece - Canonized because the painting requires a sense of tradition - They have history of art progressing within the picture - Great economic artists add something new to the classical ideas and skills to innovate and create new works for canonization - The basis and motifs remain the same - The motifs come from a combination of economic masters and their masterpieces JOHN ZOFFANY - THE TRIBUNA OF THE UFFIZI IN FLORENCE WITH BRITISH GENTLEMEN - One side shows the different great canonized works of the time period - Other side shows the social aspect of art - The collectors and connoisseurs know what art is, but some people seem to merely be partaking in the social activities amongst other elite - English artist who pictured the social activity of art (great classical/masterpieces) - Activity includes the enjoyment in art and the contemplation towards the pieces - The Uffizi are rich, which is reflected by their clothing and they were committed to the art through admiration - Zoffany critiques the Uffizi based on their genuine commitment to the art vs. participating in the social action of aristocratic art appreciation - The artist must berate the attitudes of their society and move
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