Let's keep in mind the hierarchy of the European Art Academies. They taught 
that the most important subjects were "History" oriented which meant subjects 
taken primarily from ancient and mythological history chosen for allegorical 
and didactic value.  Some say it was "great men doing great things."  Next in 
line were portraits of historical fugures, the "great men" and finally it was 
landscape and still life the "great men's objects and land".  So artists were 
ranked according to their ambitions for doing History Painting.  A well-known 
story is about Ingres who spent years in Rome.  He supported himself doing 
"little pencil portraits" of rich French tourists (David Hockney says he used 
the camera lucida for that).  But he was adamant that he be referred to as a 
"History Painter", slamming the door on those who sought him out as the artist 
who "draws portraits".  Since Georgione portraiture was not as important as 
allegorical historical art.  This is
 still the case with post-modern art.  The odd period was Impressionism and 
early modernism when still life and landscape, the most debased  "academic" 
genres, were purposely chosen by artists who sought to upend the official 
hierarchy.

WC 


--- On Thu, 10/16/08, Chris Miller <[EMAIL PROTECTED]> wrote:

> From: Chris Miller <[EMAIL PROTECTED]>
> Subject: Re: Is art sacred?
> To: [email protected]
> Date: Thursday, October 16, 2008, 5:00 PM
> I am talking about "The people who *mostly* make things
> on commission today"
> -- which would include, but not be limited to,
> "portraits in the academic
> style of recognizable pictorial techniques"
> 
> There's also muralists, monumental sculptors, and
> probably a few other kinds
> that are slipping my mind.
> 
> A hundred years ago , one could walk into a major American
> museum and likely
> find examples of the best contemporary portraiture - in
> temporary if not
> permanent exhibit.
> 
> Not so today.
> 
> 
> 
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