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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 detailed variation) This artwork Now twenty fifth anniversary distinct variation brings jointly fresh paintings and biographical details for over eighty of todays so much influential artists, forming a wide and colourful spectrum of the paintings that has formed the paintings global lately. 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, received 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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Art Now Artist at the Rise of the New Millennium

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These beginnings of a mature style indicate a date of about 1616. That the young man who holds the rope has a profile very similar to the young Jesus in the Montecompatri canvas also helps to place the Christ Crowned with Thorns chronologically close to that picture. The obvious stylistic relationship between the Christ Crowned with Thorns and the later, rather than the earlier, Honthorst paintings, marks this picture as the first to manifest the style which is generally associated with Honthorst's Roman years.

The London version comes from Lucien Bonaparte's Collection, of which a large number of the paintings originally belonged to the Giustiniani family. 3 The high quality of the London picture and the history ofits ownership strongly suggest that it is the original. 4 The painting is impressive in both size and execution. There is a warm orange-red glow, which emanates from thecandle and spreadsover the hoclies of Christ and the High Priest. Their faces are reddish-brown with golden highlights, and their necks are bronzed as if weatherbeaten.

598. s See Catalogue Raisonne no. 44. 3 There is no mention of this painting in G. •••• sujets, 1812, but thisdoesnotmean that the Giustiniani family never owned the picture. It cou1d have been so1d to Luden Bonaparte some time after his arriva1 in Romein 1803. ' See Catalogue Raisonne no. 44 for the provenance. [27] force ofhis compositions. This mode ofpainting first came to his attention in the North; in ltaly, he found it especially in Caravaggio andin the Bassani. Although, at first glance, Honthorst's method of lighting appears similar to that ofCaravaggio, a comparison ofHonthorst's Christ Before the High Priestwith Caravaggio'sConversion ofSaintPaul inSta.

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