Why would Durand, who believed so strongly that the role of landscape was to turn viewers’ thoughts from human activities to the work of God, take on a subject such as Progress?
The nostalgic painting of provincial oral gossip is haunted by allusions to the rapid mass production and nationalization of newspaper scandal in the 1870s and 1880s.
Boarding a train toward an affluent suburb northeast of Madrid, I wondered what this journey would bring. I had been contacted a little over a year earlier by a person who claimed to have two paintings by Mary Cassatt (1844–1926).
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