"He's asking bigger questions." So are we, even now. I wish for a day, long in the future, perhaps, when we won't be able to understand poverty and want because they no longer exist.
It seems that whatever progress vs tradition thing that may become controversial (not limited to technologies vs conventional ways, especially at whatever the present's new light will soon become paradoxically old), it'll always be a double edge sword price to deal with, which makes me think about: "are we truly willing to pay it with the sacrificial of each other or even unto bigger picture"?????
We spend a great deal of time and effort to produce high-quality photography at Smarthistory. The goal of our photography is to capture, as best we can, the visual experience of seeing the object in person on location. This is a different aim than the documentary images sought in the collections photography taken by many museums. We allow for variation of light for example-the cool daylight that might enter through a window against warmer artificial light. The artifice of most HDR photography has a different aim altogether and while visually satisfying, would not help accomplish our aim. You can find much of our photography on Flickr here: www.flickr.com/photos/profzucker/
@@smarthistory-art-history I see. I thought HDR just gave a greater colour gamut. E.g. seeing more reds. Which is why many nature documentaries care about being in 4k 10 bit HDR to replicate what is in the real world.
The three center figures were supposed to immediately catch my eye, but it was the children - particularly the baby shoving their little fist in their mouth, lol. ❤ Thomas Carlyle looks like the archetypal villain - just a really sleazy, slippery, and sketchy kind of guy. I wonder how intentional that was... and I feel for many of the figures in this painting. A sense of urgency, like something needs to be changed.
Another brilliant lecture with a multitude of insights into history, politics, and social movements. The painting for me, however, is mawkish. I like the message but not the medium. The colors, the composition--to my eye the painting is a mess. German expressionism made many of the same points but with a more sophisticated and powerful visual language.
Thank you for your kind note. As a product of 20th-century modernism, the sentimentality and narrative emphases of Victorian painting can seem "mawkish" to me as well, but I think, especially in this case, it may have more to do with the mid-twentieth century zeal to remove narrative and focus instead on formal concerns than with the value of Brown's work on its own terms. Brown's Work comes more than half a century before the German Expressionists and two decades before Impressionism. The Academy and its formulaic painting was still unchallenged, and yet here was an artist working outdoors, seeking the color and light of reality, while taking on not myth or history, but instead a key issue of his own time and doing all this without being able to look back to the radical advances that the Expressionists built upon. I find it remarkably brave.
@@smarthistory-art-history Thank you for taking the time to write such a thoughtful response. As always, I learn so much from you. And, yes, seeing the painting in the context of its historical period, it is a "brave" painting.
Long ago yet still so relevant in the UK and USA..
"He's asking bigger questions." So are we, even now. I wish for a day, long in the future, perhaps, when we won't be able to understand poverty and want because they no longer exist.
Now that's what I call a masterpiece! (Wish I could paint one.) Happy Holiday!🎄🎁🎅🏼
Enjoyed this so much! One of my favourite paintings of all time! Have a lovely christmas! Love your channel!
It seems that whatever progress vs tradition thing that may become controversial (not limited to technologies vs conventional ways, especially at whatever the present's new light will soon become paradoxically old), it'll always be a double edge sword price to deal with, which makes me think about: "are we truly willing to pay it with the sacrificial of each other or even unto bigger picture"?????
Once again the attention to detail in these few minutes…..drives one to do more personal research…..trying to join into the conversation….
Welcome, so glad to have you join us!
What really is the "moral" difference between the herb and weed seller and the beer seller, if both of them have to be compared to the quarry workers?
the difference is that the herb seller is far too smoochable! outrageous!
Merry Christmas 🎅 🎄, smarthistory. Hope you guys have a good one.
Same to you!
0:01 Typo - it says Machester
Would you be able to upload these in HDR?
We spend a great deal of time and effort to produce high-quality photography at Smarthistory. The goal of our photography is to capture, as best we can, the visual experience of seeing the object in person on location. This is a different aim than the documentary images sought in the collections photography taken by many museums. We allow for variation of light for example-the cool daylight that might enter through a window against warmer artificial light. The artifice of most HDR photography has a different aim altogether and while visually satisfying, would not help accomplish our aim. You can find much of our photography on Flickr here: www.flickr.com/photos/profzucker/
@@smarthistory-art-history I see. I thought HDR just gave a greater colour gamut. E.g. seeing more reds.
Which is why many nature documentaries care about being in 4k 10 bit HDR to replicate what is in the real world.
The three center figures were supposed to immediately catch my eye, but it was the children - particularly the baby shoving their little fist in their mouth, lol. ❤
Thomas Carlyle looks like the archetypal villain - just a really sleazy, slippery, and sketchy kind of guy. I wonder how intentional that was... and I feel for many of the figures in this painting. A sense of urgency, like something needs to be changed.
The draftsmanship in this painting is absolutely dizzying.
Another brilliant lecture with a multitude of insights into history, politics, and social movements. The painting for me, however, is mawkish. I like the message but not the medium. The colors, the composition--to my eye the painting is a mess. German expressionism made many of the same points but with a more sophisticated and powerful visual language.
Thank you for your kind note. As a product of 20th-century modernism, the sentimentality and narrative emphases of Victorian painting can seem "mawkish" to me as well, but I think, especially in this case, it may have more to do with the mid-twentieth century zeal to remove narrative and focus instead on formal concerns than with the value of Brown's work on its own terms. Brown's Work comes more than half a century before the German Expressionists and two decades before Impressionism. The Academy and its formulaic painting was still unchallenged, and yet here was an artist working outdoors, seeking the color and light of reality, while taking on not myth or history, but instead a key issue of his own time and doing all this without being able to look back to the radical advances that the Expressionists built upon. I find it remarkably brave.
@@smarthistory-art-history Thank you for taking the time to write such a thoughtful response. As always, I learn so much from you. And, yes, seeing the painting in the context of its historical period, it is a "brave" painting.