Welcome to One good showwhere the viewing highlights a newly opened exhibit at a museum and not New York City, a place we know and love that just gets a lot of attention.
One of the many reasons is that AI Slop will never replace real humans being data. When someone visits a gallery or museum, they want to encounter an image that they can change or return to. Even if artificial intelligence can one day stop putting more fingers in underground advertisements, you will never be able to create something that you can hang in your home and enjoy for many years. AI-generated art is always fast and smooth. The details that make you fall in love with the work come from the unique hand of a skilled Craftperson, preferably one with some weird mental stuff on top of that.
Camille Pissarro (1830-1903) wasn’t a particularly crazy person, but you always need to convince her of something when you come across her work in a local museum. The newly opened “An Honest Eye: Camille Pissarroliss’s Temperism” makes the case that the artist stands shoulder to shoulder with her crazier peers. Organized by the Denver Art Museum in collaboration with the Barberini Museum in Potsdam, Germany, the exhibition brings together more than 100 museum pieces and items from nearly 50 collections and private collections.
Pissarro was older than some of the artists to be featured in the exhibition, and the exhibition takes its name from a letter in which he told his son that he found it “faithful.” It was a logical way of looking at the world in a unified culture. Pissarro was born in what are today the Virgin Islands, which Netene Paul Cézanne later called Lucky, because there Pissarro “learned to paint without a king.” At a time when plein-air painting was evolving, he learned how to do it in Venezuela.
He was ready not to live in color, and – there is too much of it in the new world – but one of the previous works in this exhibition, Loth station. Dulwich (1871), uses it sparingly. A follower of the Utopian writings of Pyotr Kropotkin, Pissarro just hits on the texture of the train, but that reveals that it was developed in England in England. Compare this The field of Les Marurins, the property of the funny sisters, pontoise (1876), which is a complete symphony. The harsh colors and complex fillings of so many types can even be figurative, as the woman studying next to Geazing Glowerism can be the azulu of Maria Deraisms, who shares Pissarro’s politics. This may have been a place of proto-feminist gatherings.
His people hide as many secrets as his lands. The subject of A little girl wearing a straw hat (1881) He clasps his hands in an expression of concern or contemplation. His Gaze is up to something we can’t see, but you can also tell he’s not really looking. Behind it, the countryside is not likely to exist until it is almost invisible. Pissarro’s eye was not only reliable, it was a keen collector of data that helped him create scenes of incomparable influence.
“Faithful Eye: Camille Pissarro“ on view at the Denver Art Museum on February 8, 2026.
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