Frederic Edwin Church sold a nation on its own mythology. That was his making—and his unmaking.
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How the shape-shifting artist radicalized art itself.
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It is easy to treat the Dutch artist as an agreeable intimist—a transcriber of domestic niceties. But he grew up in a world of war, starvation, and massacres. His paintings were safe havens.
In Steven Soderbergh’s film, Ian McKellen and Michaela Coel are superbly matched as two skilled painters who find their way from slippery deception to common ground.