SchoolArts Magazine

NOV 2014

SchoolArts is a national art education magazine committed to promoting excellence, advocacy, and professional support for educators in the visual arts since 1901.

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Page 27 of 54

Pull-out Resource Looking & Learning Engage and Persist Creating art is a lifelong pursuit full of twists, turns, growth, and transformation. T here are times when creativity and ideas flow easily and quickly, but there are also periods of frustration and uncertainty. Both are a necessary part of the creative process, as working through a frustrating problem often leads to an epiphany or important realiza - tion. This is why developing artists must learn to fully engage in the process of art-making and persist through the difficult periods in order to succeed. Although some artists become successful quickly, others work in obscurity for years before their work is recognized. This month we feature two artists whose work was overlooked for many years before finally gain - ing recognition from art historians, critics, and scholars. About the Artists/Artworks Fran oise Duparc (1728–1778) The work of Françoise Duparc is more obscure than most other French female artists of the eighteenth century, mostly because of Duparc's provincial origin. Born in Spain to sculptor Antoine Duparc and a local Spanish woman, Duparc received her first training presumably from her father. She later received more training at the academy in Marseilles. Duparc also studied with the portraitist Jean- Baptiste van Loo, and was greatly influenced by the genre scenes of Dutch Baroque painter, Johannes Vermeer. After a long career in Paris and London, Duparc was elected to the Academy of Marseilles as a teacher in 1777. Upon her death, she bequeathed all of her remaining paint- ings to the city of Marseilles. However, only four works are now firmly attributable to her, among which is Woman Seated with Her Arms Folded, which is sometimes called The Mender, The Washerwoman, or Old Woman Sitting. This portrait of an older woman is an important socio- logical artifact. Here, Duparc depicts a common woman with dignity and respect, without irony or caricature. This style—known as Bourgeois Baroque—is characterized by painterly rendering of forms and simple, honest character- ization. Pierre Prins (1838–1913) Pierre Prins is an artist who has been largely overlooked in the history of art because his work sidesteps what was popular at the time: Impressionism. Despite that, his work compares favorably to Impressionism, and while the Impressionists were prowling the environs of Paris for subject matter, Prins was right there with them. Like his lifelong friend, Realist/Impressionist, Édouard Manet, Prins was always on the fringe of the Impressionists. He never took part in any of the Impressionist exhibitions that were held from 1874 to 1886, and his work never realized commercial success. It was not until 1890 that he had a show dedicated to his pastels in a Paris art gallery, Galerie Georges Petit. Sudden Shower on the Plateau Saint-Eurolt clearly dis- plays Prins's enthusiasm for working outdoors and delight in depicting the nuances of clouds. Using pastels, Prins excelled in his studies of clouds at various times of day. In 1907, Prins was shown in a gallery where critics were enthusiastic about his work as an "accomplished Impres- sionist." Ironically, many of the works Prins showed at the time were more than thirty years old. Françoise Duparc, Woman Seated with Her Arms Folded. Oil on canvas, 28 3 /8 x 22 7 /16" (72 x 57 cm). Musée des Beaux-Arts, Marseilles, France. Image courtesy Davis Art Images. 23

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