Using a Paris postcard as an ideological contrast, Whitney O’Reardon (Class of 2022) suggests how Pissarro embedded politics in his rendering of an urban crowd at Gare St. Lazare (1893).
How do we create more just and equitable arts organizations? How can we use the past to build a new architecture of ideas? On April 6, ARTHive helped sponsor an online conversation about these questions and more.
Emily Gray (Class of 2022) unpacks voyeurism and homoeroticism in two related images by the French artists Gustave Courbet and Achille Devéria