Only a short walk from Thomas Cole’s house and studio in upstate New York winds a stretch of Catskill Creek that the painter would return to depict again and again.
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.
A forthcoming exhibition at the Rhode Island School of Design
tells the epic story of a great American silverware maker
John Ruskin and the American Pre-Raphaelites
In his 1948 year-end report, Charles Kuhn—Harvard professor, curator of the university’s Germanic Museum (later called the Busch-Reisinger Museum), and recently discharged deputy chief of the soldiering art experts known as the Monuments Men—took the modest first step to establish an archive of Bauhaus materials.
An exhibition at the High Museum of Art honors great self-taught artists of the American South
Though his fashion and textile designer son of the same name has more cachet today, the Spanish artist Mariano Fortuny was one of the most acclaimed and influential painters of the nineteenth century.
The Yale Center for British Art’s new show William Hunter and the Anatomy of the Modern Museum asks us to abandon borders. Not borders between countries and people, but the walls in the mind built by group-think and obsessive, constipating specialization.
The painter Agnes Pelton took inspiration from esoteric philosophies and becomes another early twentieth-century woman abstractionist receiving her due.
A current exhibition examines American art old and new through the lens of the environment