"A game of brinkmanship began when the Musée d’Orsay here invited Julian Schnabel to choose paintings from its 19th-century collection to exhibit alongside his own works of art." - Hallo friendsINFO TODAY, In the article you read this time with the title "A game of brinkmanship began when the Musée d’Orsay here invited Julian Schnabel to choose paintings from its 19th-century collection to exhibit alongside his own works of art.", We have prepared this article for you to read and retrieve information therein. Hopefully the contents of postings Article economy, Article health, Article hobby, Article News, Article politics, Article sports, We write this you can understand. Alright, good read.

Title : "A game of brinkmanship began when the Musée d’Orsay here invited Julian Schnabel to choose paintings from its 19th-century collection to exhibit alongside his own works of art."
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"A game of brinkmanship began when the Musée d’Orsay here invited Julian Schnabel to choose paintings from its 19th-century collection to exhibit alongside his own works of art."

"At a certain moment the museum said: You can’t have this or that painting, so I said I can’t do it,' Mr. Schnabel said in a recent interview at the museum. 'I thought, if I can’t pick the paintings, there’s no reason for me to say that I picked the paintings.' The American artist and filmmaker, 66, had his eye on works by four artists in particular — Vincent van Gogh, Claude Monet, Henri de Toulouse-Lautrec and Paul Cézanne — which the museum did not want to move from their usual places."

In the end, Schnabel got everything but the Cézanne for the show, described here, in the NYT.

The article doesn't say which Cézanne was so firmly unmoveable, and I don't think it's the Cézanne mentioned in this paragraph (which confused me):

The earliest of [Schnabel's] works in the show is the large-scale “Blue Nude with Sword” from 1979, the first figurative, as opposed to abstract, plate painting that Mr. Schnabel made. It hangs alongside Cézanne’s much smaller tableau “La Femme Étranglée” (“The Strangled Woman,” 1875-1876), with which it shares a similar red, white and blue palette.

I was struck that the NYT would allow such a blurry, distanced hint at violence against women in this article. Women are strangled, not just in the Cézanne painting...

... but in the newspaper that also, when it's in the mood, tells us about the women protesters who scream about our subordination. But in the museum, the men dominate as usual. Schnabel is a man with the power to compare himself to anyone he likes and he likes all men — Van Gogh, Monet, Toulouse-Lautrec, Cézanne.

But at least Schnabel's nude woman isn't strangled but wields a sword. No! Faked you out: Schnabel's "Blue Nude with a Sword" is a man:

What's he aiming that sword at? A curled up red dog? A pile of shit? I don't know, but why, with all those phallic symbols — the pillars, the sword — do we see no genitalia between his legs? Or is that the point — "Blue Nude Without Testicles"?

Are you enjoying the Gender Studies at Althouse this morning?

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"A game of brinkmanship began when the Musée d’Orsay here invited Julian Schnabel to choose paintings from its 19th-century collection to exhibit alongside his own works of art."

"A game of brinkmanship began when the Musée d’Orsay here invited Julian Schnabel to choose paintings from its 19th-century collection to exhibit alongside his own works of art."

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"A game of brinkmanship began when the Musée d’Orsay here invited Julian Schnabel to choose paintings from its 19th-century collection to exhibit alongside his own works of art."

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"A game of brinkmanship began when the Musée d’Orsay here invited Julian Schnabel to choose paintings from its 19th-century collection to exhibit alongside his own works of art."

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