Kollwitz’s art was both a response to the suffering of others and a processing of personal experience. For Kollwitz, character born of hardship was indistinguishable from—lo, was the necessary source of—beauty.
As all portrait artists know, there is something solemnly ceremonious about the full-profile position. We do not make eye contact—that being somehow beneath the authority of the subject—just as the set mouth seems to be not just momentarily, but eternally, silent.
Robert Philipp was—and this may be a defining characteristic of many League instructors—an iconoclastic traditionalist, well enough versed in the conventions of art to take them as a point of departure.
George B. Bridgman was the preeminent instructor of figure drawing in this country during the first half of the twentieth century and is credited with having taught close to 70,000 students, from illustrators to the avant-garde. What makes his lessons so enduring?
Art in general isn’t nearly as fun or powerful in this age. You could say there’s a positive side to all the access we have to art, as well as the exposure, as artists, we can get outside of the traditional structures. But I wonder if it’s worth what we gave up. Too much art exposure can bore a person. You can also become impervious to the effects that art can have on us.