The Art of Corruption: Darren Waterston's Filthy Lucre
by Twylene Moyer
They face off across a dim room: in one corner, a cultivated gentleman poses in elegant evening attire; in the other, a depraved monster, hunched over a piano, recoils at the horrible metamorphosis that sends feathers erupting from his flesh and turns fingers and toes into talons. Portraits of one and the same man, these two canvases—the first an exquisite harmony of gradated tones and controlled brushwork, the second, a shrill parody of painterly technique—mark the beginning and end of a sordid saga as rehearsed and circulated by one of the 19th century’s most contradictory and maddening artists. James McNeill Whistler may have boasted that he squashed this former friend turned enemy, relegating him to oblivion as a footnote “in some future dull Vasari,” like the anonymous patron who paid Correggio in pennies, but history played him for a fool.
...see the entire article in the print version of November's Sculpture magazine.