Chaim Koppelman has been listed as one of the Art and architecture good articles under the good article criteria. If you can improve it further, please do so. If it no longer meets these criteria, you can reassess it. | ||||||||||
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A
fact from this article appeared on Wikipedia's
Main Page in the "
Did you know?" column on
January 31, 2013. The text of the entry was: Did you know ... that American
printmaker
Chaim Koppelman produced many works about
Napoleon throughout his career, placing the French Emperor in surprising settings such as Napoleon Entering
Brighton Beach? |
This article is rated GA-class on Wikipedia's
content assessment scale. It is of interest to the following WikiProjects: | ||||||||||||||||||||||||||||
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Reviewing |
Reviewer: Casliber ( talk · contribs) 11:47, 12 February 2013 (UTC)
Right, I will copyedit as I go and post queries below: Casliber ( talk · contribs) 11:47, 12 February 2013 (UTC)
Otherwise looking good..... Casliber ( talk · contribs) 12:35, 12 February 2013 (UTC)
So, it was a little more difficult than I expected. The ideas are big, and it is hard to make them clear swifly. I have citations to support this. I suggest adding the following after the first three sentences of the first paragraph, in place of the rest of the paragraph, in Aesthetic Realism and artistic development:
Hopefully, everything said in the rest of the article about opposites will have more meaning because of these sentences and the poem. I look forward to your comments. Trouver ( talk) 21:09, 22 February 2013 (UTC)
1. Well written?:
2. Factually accurate and verifiable?:
3. Broad in coverage?:
4. Reflects a neutral point of view?:
5. Reasonably stable?
6. Illustrated by images, when possible and appropriate?:
Overall:
This, I think, is a practical example of how & why his work came to have a more beautiful relation of truth & imagination, freedom & order, wildness & precision. The last quote I suggest moving from the "Critical Reception" section because it is useful & clarifying here. I'm concerned about the length of this article, but also think it is important for this section to be clear & have a practical example. If we add the poem above it should be later in the section, after he began printmaking. Looking forward to your comments. Trouver ( talk) 19:08, 3 March 2013 (UTC)
Do I make these changes? What is the correct procedure? Trouver ( talk) 20:33, 3 March 2013 (UTC)
Your last comment conflicted with my adding the following, from an Aesthetic Realism lesson Koppelman had on June 2, 1949. I thought it might further clarify the learning process. Koppelman said his work seemed to be "isolated and rigid and nothing moving from one thing to the next."
Siegel. There is a tendency on your part to separate the deep perception of reality. And one of the things you have to go after is to feel that when you are feeling good you are just as deep as when you are feeling bad. And this I don't think you have felt yet. Take the fight between Delacroix and Ingres. Ingres went after outline and shape and something comparatively restrained, and Delacroix went after much motion and color. Now is that warfare in you?
Koppelman. Yes.
Siegel. It takes many forms. You won't be free about art until your motion, your ripple, your flow is seen as the same as your exactness, your rigidity, your grimness. I think you think you are deepest when you are suffering. Do you see what I mean?
References
{{
cite book}}
: CS1 maint: unrecognized language (
link)
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Chaim Koppelman has been listed as one of the Art and architecture good articles under the good article criteria. If you can improve it further, please do so. If it no longer meets these criteria, you can reassess it. | ||||||||||
| ||||||||||
A
fact from this article appeared on Wikipedia's
Main Page in the "
Did you know?" column on
January 31, 2013. The text of the entry was: Did you know ... that American
printmaker
Chaim Koppelman produced many works about
Napoleon throughout his career, placing the French Emperor in surprising settings such as Napoleon Entering
Brighton Beach? |
This article is rated GA-class on Wikipedia's
content assessment scale. It is of interest to the following WikiProjects: | ||||||||||||||||||||||||||||
|
GA toolbox |
---|
Reviewing |
Reviewer: Casliber ( talk · contribs) 11:47, 12 February 2013 (UTC)
Right, I will copyedit as I go and post queries below: Casliber ( talk · contribs) 11:47, 12 February 2013 (UTC)
Otherwise looking good..... Casliber ( talk · contribs) 12:35, 12 February 2013 (UTC)
So, it was a little more difficult than I expected. The ideas are big, and it is hard to make them clear swifly. I have citations to support this. I suggest adding the following after the first three sentences of the first paragraph, in place of the rest of the paragraph, in Aesthetic Realism and artistic development:
Hopefully, everything said in the rest of the article about opposites will have more meaning because of these sentences and the poem. I look forward to your comments. Trouver ( talk) 21:09, 22 February 2013 (UTC)
1. Well written?:
2. Factually accurate and verifiable?:
3. Broad in coverage?:
4. Reflects a neutral point of view?:
5. Reasonably stable?
6. Illustrated by images, when possible and appropriate?:
Overall:
This, I think, is a practical example of how & why his work came to have a more beautiful relation of truth & imagination, freedom & order, wildness & precision. The last quote I suggest moving from the "Critical Reception" section because it is useful & clarifying here. I'm concerned about the length of this article, but also think it is important for this section to be clear & have a practical example. If we add the poem above it should be later in the section, after he began printmaking. Looking forward to your comments. Trouver ( talk) 19:08, 3 March 2013 (UTC)
Do I make these changes? What is the correct procedure? Trouver ( talk) 20:33, 3 March 2013 (UTC)
Your last comment conflicted with my adding the following, from an Aesthetic Realism lesson Koppelman had on June 2, 1949. I thought it might further clarify the learning process. Koppelman said his work seemed to be "isolated and rigid and nothing moving from one thing to the next."
Siegel. There is a tendency on your part to separate the deep perception of reality. And one of the things you have to go after is to feel that when you are feeling good you are just as deep as when you are feeling bad. And this I don't think you have felt yet. Take the fight between Delacroix and Ingres. Ingres went after outline and shape and something comparatively restrained, and Delacroix went after much motion and color. Now is that warfare in you?
Koppelman. Yes.
Siegel. It takes many forms. You won't be free about art until your motion, your ripple, your flow is seen as the same as your exactness, your rigidity, your grimness. I think you think you are deepest when you are suffering. Do you see what I mean?
References
{{
cite book}}
: CS1 maint: unrecognized language (
link)
Hello fellow Wikipedians,
I have just modified one external link on Chaim Koppelman. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs.
This message was posted before February 2018.
After February 2018, "External links modified" talk page sections are no longer generated or monitored by InternetArchiveBot. No special action is required regarding these talk page notices, other than
regular verification using the archive tool instructions below. Editors
have permission to delete these "External links modified" talk page sections if they want to de-clutter talk pages, but see the
RfC before doing mass systematic removals. This message is updated dynamically through the template {{
source check}}
(last update: 5 June 2024).
Cheers.— InternetArchiveBot ( Report bug) 12:25, 2 August 2017 (UTC)