Tea at Trianon: How Artists Become Famous

John Wilson Croker on Marie-Antoinette

"We have followed the history of Marie Antoinette with the greatest diligence and scrupulosity. We have lived in those times. We have talked with some of her friends and some of her enemies; we have read, certainly not all, but hundreds of the libels written against her; and we have, in short, examined her life with– if we may be allowed to say so of ourselves– something of the accuracy of contemporaries, the diligence of inquirers, and the impartiality of historians, all combined; and we feel it our duty to declare, in as a solemn a manner as literature admits of, our well-matured opinion that every reproach against the morals of the queen was a gross calumny– that she was, as we have said, one of the purest of human beings."

~from History of the Guillotine by John Wilson Croker, 1844

Edmund Burke on Marie-Antoinette

"It is now sixteen or seventeen years since I saw the queen of France, then dauphiness, at Versailles; and surely there never lighted on this orb, which she hardly seemed to touch, a more delightful vision. I saw her just above the horizon, decorating and cheering the elevated sphere she had just begun to move in, glittering like a morning star full of life and splendor and joy. Oh, what a revolution....Little did I dream that I should have lived to see such disasters fall upon her, in a nation of gallant men, in a nation of men of honor and of cavaliers! I thought ten thousand swords must have leaped from their scabbards, to avenge even a look which threatened her with insult. But the age of chivalry is gone; that of sophisters, economists, and calculators has succeeded...."

~Edmund Burke, October 1790

Tuesday, February 11, 2020

How Artists Become Famous

From Artsy:

In a 2012 exhibition about the birth of abstraction at the Museum of Modern Art in New York, curators highlighted the way that the artists may have influenced one another. Titled “Inventing Abstraction: 1910–1925,” the show illustrated over 80 artists’ radical departures from the traditions of representational art, and opened with a large diagram depicting their network to show who knew each other (an interactive version of which is online), with the most connected, like Pablo Picasso and Wassily Kandinsky, toward the center.

While working on the show with her colleagues, exhibition curator Leah Dickerman (now MoMA’s director of editorial and content strategy) was influenced in part by a course she had taken with Columbia Business School professor and Chazen Senior Scholar Paul Ingram, which was about how curators can use their professional networks to achieve success. Ingram helped to develop an early iteration of the network of early pioneers of abstraction, and later, he used the same data to embark on a new investigation.

Ingram and his colleague Mitali Banerjee, of HEC Paris, used MoMA’s findings to examine the role that creativity and social networks played for these artists, in relationship to the level of fame they achieved. In a 2018 paper, they relayed their findings—including that for successful artists, making friends may be more important than producing novel art. (Read more.)