Art Now Artist at the Rise of the New Millennium by Uta Grosenick

By Uta Grosenick

Modern artwork in a nutshell (TASCHENs twenty fifth anniversary specified variation) This paintings Now twenty fifth anniversary exact version brings jointly fresh paintings and biographical details for over eighty of todays such a lot influential artists, forming a large and colourful spectrum of the paintings that has formed the paintings international in recent times. Featured artists contain: Matthew Barney, Maurizio Cattelan, John Currin, Tacita Dean, Thomas call for, Rineke Dijkstra, Douglas Gordon, Andreas Gursky, Thomas Hirschhorn, Damien Hirst, Mike Kelley, Martin Kippenberger, Jeff Koons, Sharon Lockhart, gained Ju Lim, Paul McCarthy, Mariko Mori, Sarah Morris, Vik Muniz, Takashi Murakami, Shirin Neshat, Albert Oehlen, Chris Ofili, Gabriel Orozco, Jorge Pardo, Elizabeth Peyton, Thomas Ruff, Cindy Sherman, Thomas Struth, Wolfgang Tillmans, Rirkrit Tiravanija, Luc Tuymans, Jeff Wall.

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It appears to be an idyllic view, composed no doubt from a random selection of studies, with the unconvincing cliffs of an untravelled lowlander in the background. There is no island, and no bridge. Roger must have seen van Eyck's painting, but has taken from it only that which was not specific to the agenda of the Rolin Madonna. The other copy, on the other hand, has repeated with great exactitude just those features which do belong to the Montereau connection, and certainly with intent. The copy of the background from the ramparts into the distance is in the Book of Hours ofjean Dunois, Bastard of Orleans,**** of 1450, a gentleman for whom the event on the bridge of Montereau wore the colour of Nemesis.

Counts, three cardinals, three archbishops, ten bishops, eighteen abbots, twenty-two knights, the president of two secretaries of state, eminent members of the University of Paris, and doctors of law. The emperor Sigismund, the kings of Poland, Sicily, Aragon, Navarre and Denmark and the dukes of the Parliament of Paris, . . place during the two month conference at Arras. In all of attendants Philip the Good brought to Arras- the lords of Brabant, Artois, Flanders, Hamault, the Duke of Guelders and his Nephew of Cleves, not to that array 18 mention the ladies, and three hundred archers - PhiHp must have brought his court painter.

The most favoured of these identifications is Liege, supported by Jean Lejeune, and Joseph Philippe. ^^ While applauding the keenness of inquiry which has gone so far to establish the parallels with Liege, we are left, not only with the visual discrepancy of the absence of an important castle on what in Liege is known as the Ilot des Hochets, but with a nagging question: why Liege? The artist is not known to have spent much time there; the sitter had no especially strong connection with the town.

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