I’m generally critical of the idea that understanding an artist’s life is essential to appreciating their art. Does one need to study Da Vinci’s personal history to grasp the beauty of the Mona Lisa?
Although I have the deepest respect for Romeo Martinez, whom I honestly hadn't heard of before, I do take issue with some of his quotes.
For example, his statement, 'You can't understand Henri Cartier-Bresson until you've studied his childhood. Be more rigorous, dig deeper,' feels a bit limiting. While it’s true that HCB came from a bourgeois background, which might explain some of the detachment and rigidity in his approach, I’m generally critical of the idea that understanding an artist’s life is essential to appreciating their art. Does one need to study Da Vinci’s personal history to grasp the beauty of the Mona Lisa? Or delve into Kertész’s childhood to feel the poetry in his Parisian street scenes? Art communicates through its form, content, and the emotions it evokes — not just through the artist’s biography.
How does that relate to the statements of your respected teacher who appears to have a habit of filling in the gaps with his own fantasy?
I'm just concerned about a thread that keeps referencing prostitutes and Romeos in nearly the same breath.
Please put an f) None of the aboveYou can't understand Henri Cartier-Bresson until you've studied...
- (a) his childhood
- (b) Surrealism
- (c) André Lhote
- (d) Leica cameras
- (e) all these answers
You can't understand Henri Cartier-Bresson until you've studied...
- (a) his childhood
- (b) Surrealism
- (c) André Lhote
- (d) Leica cameras
- (e) all these answers
You can't understand Henri Cartier-Bresson until you've studied...
- (a) his childhood
- (b) Surrealism
- (c) André Lhote
- (d) Leica cameras
- (e) all these answers
I don't want to understand Henri Cartier-Bresson, as I'm only interested in his pictures.
Add to that his art training in composition so that one can understand his refusal to allow anyone to crop his photographs.
So, do we need to know that Atget was an out-of-work actor, that he had rigorous hygiene protocols, or that his camera weighed 3 metric tonnes?
Or that he flunked painting school?
None of that is important in order to appreciate his work, but it does help in to appreciate how the artist came to make the work. Often, knowing more about an artist can lead to disappointment. One has to learn to separate the artist from the art.
I found that interview too and Romeo Martinez stated the following:
"Only morons talk about Atget without mentioning the importance of prostitutes in his work. Without them, his photos are incomprehensible"
Too bad I cannot read the whole interview (it is under paywall)
I don't want to understand Henri Cartier-Bresson, as I'm only interested in his pictures.
Picasso and Weston were womanizers, many others abusers of people and substances. Traits that might lead some to want to dislike the person. However, the art in many instances transcends this.But be careful—art does not exist without the artist. We cannot separate them because art offers a window into the world of the artist.
I think Martinez is the "moron."
Picasso and Weston were womanizers, many others abusers of people and substances. Traits that might lead some to want to dislike the person. However, the art in many instances transcends this.
Reading Revelations and several of her biographies does make one see Arbus' work in a different light.In some cases, I must admit that knowing details about an artist's personal life can offer valuable context for approaching their work, as is the case with Diane Arbus or Lartigue
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