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	<title>Comments on: CHARDIN IN PALAZZO DIAMANTI (FERRARA) till Jan 30th, then at the Prado.</title>
	<atom:link href="http://www.verrocchio.co.uk/nkonstam/blog/2011/01/14/chardin-in-palazzo-diamante-ferrara-till-jan-30th-then-at-the-prado/feed/" rel="self" type="application/rss+xml" />
	<link>http://www.verrocchio.co.uk/nkonstam/blog/2011/01/14/chardin-in-palazzo-diamante-ferrara-till-jan-30th-then-at-the-prado/</link>
	<description>Nigel Konstam (a New Humanist sculptor)</description>
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		<title>By: ANNE SHINGLETON</title>
		<link>http://www.verrocchio.co.uk/nkonstam/blog/2011/01/14/chardin-in-palazzo-diamante-ferrara-till-jan-30th-then-at-the-prado/comment-page-1/#comment-70</link>
		<dc:creator>ANNE SHINGLETON</dc:creator>
		<pubDate>Wed, 02 Feb 2011 08:31:28 +0000</pubDate>
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		<description>Thank you for that, Nigel. 
What struck me was the evidence of his very careful and consistent craftsmanship. He must&#039;ve been extremely disciplined. This is revealed by the copies that Chardin made of his own paintings. The still lives are virtually the same, some subtle emphasis with brush stokes perhaps, but the bigger painting of the boy blowing soap bubbles of which the three versions from New York, Los Angeles and Washington, were shown together, is so beautifully painted each time, leading the viewer to ask which one came first.
And why? The three, are all so obviously from Chardin&#039;s hand - these in no way strike me as copies from another artist. Maybe, he was onto a good thing, and had the clients lining up . . . . what artist doesn&#039;t respond to market pressures today?</description>
		<content:encoded><![CDATA[<p>Thank you for that, Nigel.<br />
What struck me was the evidence of his very careful and consistent craftsmanship. He must&#8217;ve been extremely disciplined. This is revealed by the copies that Chardin made of his own paintings. The still lives are virtually the same, some subtle emphasis with brush stokes perhaps, but the bigger painting of the boy blowing soap bubbles of which the three versions from New York, Los Angeles and Washington, were shown together, is so beautifully painted each time, leading the viewer to ask which one came first.<br />
And why? The three, are all so obviously from Chardin&#8217;s hand &#8211; these in no way strike me as copies from another artist. Maybe, he was onto a good thing, and had the clients lining up . . . . what artist doesn&#8217;t respond to market pressures today?</p>
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