Like the literature of magical realism, the lovely painted metal Mexican retablos currently on view at the Princeton University Art Museum cast memory, bonds of affection, calamity, and averted disaster in the intersecting space between modern times and the immutable past.
The painter Agnes Pelton took inspiration from esoteric philosophies and becomes another early twentieth-century woman abstractionist receiving her due.
An exhibition at the Frick Collection offers a chance to reassess the art o f Renaissance portraitist Giovanni Battista Moroni
Henrietta Johnston’s portraits of Colonel John Moore and his wife, Frances Lambert Moore
Overshadowed by her sister Georgia, Ida Ten Eyck O’Keeffe gets her day in the sun with an exhibition at the Dallas Museum of Art
While in New York recently, Stan Mabry, a fine arts dealer, did a double take. He saw a painting that he had known of for many years, but only as the centerpiece among many works of art in a black-and-white photo of a Paris studio in the 1890s.
As the cultural tides seem finally to be lifting women artists into prominence on par with their male counterparts, more and more are emerging into public view. Several museums and galleries are presenting women artist- Hawthorne Fine Art focused shows, and one of these is at Hawthorne Fine Art in New York, where you can find the selling exhibition Breaking All Bounds: American Women Artists (1825–1945).
Franz Marc and August Macke were both young artists—twenty-nine and twenty-three, respectively—when they first met in Munich in January 1910. Marc was Bavarian and Macke was from the Rhineland. They soon became friends and visited each other’s studios in and near Munich. They shared many affiliations, friends, and interests.
Though it’s a distinct handicap when a major retrospective of a great artist is missing one of his best—and certainly best-known—paintings, it says something that the exhibition Delacroix at the Metropolitan Museum of Art in New York loses little of its force despite the fact that July 28, 1830: Liberty Leading the People stayed home at the Louvre.
Let the Thomas Coles and Sanford Giffords of the world woo rich patrons, the artist Thomas Chambers went after aspiring members of the middle class, eager to have tokens of refinement in their home—a sweeping vista of Niagara Falls or the Bay of Naples, or a stirring depiction of a battle at sea.