• Empire of the Sun artwork
• Classic artwork

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Empire of the Sun artwork

It’s through this historical lens that Ms. Ractliffe views landscape: as morally neutral terrain rendered uninhabitable by terrible facts from the past – the grave of hundreds of Namibia refugees, most of them children, killed in an air raid; the unknown numbers of land mines buried in Angola’s soil. Some are now decades old but can still detonate, so the killing goes on.”

Chloe Dewe Mathews (British, b. 1982) Six Farm, Loker, West-Vlaanderen 2013 Private Joseph Byers Private Andrew Evans Time unknown / 6.2.1915 Private George E. Collins 07:30 / 15.2.1915 © Chloe Dewe Mathews

Researching her series, Dewe Mathews worked closely with academics to locate the forgotten places along the western front where these unfortunate combatants had been shot. She then travelled to each spot and set up her camera there at dawn, recording whatever could be seen a century after the executions had taken place.

It’s through this historical lens that Ms. Ractliffe views landscape: as morally neutral terrain rendered uninhabitable by terrible facts from the past – the grave of hundreds of Namibia refugees, most of them children, killed in an air raid; the unknown numbers of land mines buried in Angola’s soil. Some are now decades old but can still detonate, so the killing goes on.”

Chloe Dewe Mathews (British, b. 1982) Six Farm, Loker, West-Vlaanderen 2013 Private Joseph Byers Private Andrew Evans Time unknown / 6.2.1915 Private George E. Collins 07:30 / 15.2.1915 © Chloe Dewe Mathews

Classic artwork

The enduring relevance of these paintings lies in their universal themes, artistic brilliance, and the way they resonate with human experiences. They remain sources of inspiration and contemplation for contemporary artists and audiences.

Manet’s scene of picnicking Parisians caused a scandal when it debuted at the Salon des Refusés, the alternative exhibition made up of works rejected by the jurors of the annual Salon—the official art exhibition of the Académie des Beaux-Arts that set artistic standards in France. The most vociferous objections to Manet’s work centered on the depiction of a nude woman in the company of men dressed in contemporary clothes. Based on motifs borrowed from such Renaissance greats as Raphael and Giorgione, Le Déjeuner was a cheeky send up of classical figuration—an insolent mash-up of modern life and painting tradition.

The Sleeping Gypsy summons an aspiration for a preindustrial past, which represented it as a highly-fascinated modern art during the mid-nineteenth century. The dream-like atmosphere and simple geometric designs portray the painter’s remarkable illustrative imagination.