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Additional info for Hiding making - showing creation : the studio from Turner to Tacita Dean
The myth of Hercules and Omphale is a story about the inversion of gender: Omphale, having made Hercules her slave, seizes his club and his lion skin and forces him to spin while clad in women’s clothes. Fig. 4 Jean-Léon Gérôme, The End of the Seance, 1886, Santa Ana, Frankel Family Trust 55 Gérôme accentuates the role reversal by representing Omphale in the pose of the Hercules Farnese, probably the most famous sculptural rendering of the ancient Greek hero. The story of Hercules and Omphale was one often depicted in nineteenth-century Salon paintings, most notably by Gustave Boulanger, an artist who was not only Gérôme’s fellow student in the atelier of Paul Delaroche, but who was frequently said to be his kindred spirit.
Bildlichkeit und Argumentation (Paderborn: Fink Verlag 2004), 67–86. 7 Honoré de Balzac, “Le Chef-d’œuvre inconnu,” L’Artiste (Paris 1831). 8 Oskar Bätschmann, The Artist in the Modern World. A Conflict Between Market and Self-Expression (Cologne: Dumont Verlag, 1997). 9 Anthony Hughes, “The Cave and the Stithy: Artist’s Studios and Intellectual Property in Early Mondern Europa,” The Oxford Art Journal 13/1 (1990) 34–35. Michael Cole and Mary Pardo show the distinction between studio and bottega in Italian art of the Renaissance; see Michael Cole and Mary Pardo, Inventions of the Studio.
18 None of them came close to the action concepts 35 captured by Milis and Namuth, but rather followed the traditional line of studio painting, providing a portrait of the artist surrounded by his works. The most radical change undoubtedly occurred in the 1960s, when many artists ceased painting and sought new production methods outside the studio. They transferred their artistic production from the studio to public or semi-public spaces where they worked in situ. 19 Daniel Buren radically stated: “Mon atelier ...