What an exhibition of over one hundred New York City scenes amassed by a real estate scion captures of the city and reveals about the collector.
There are at least two poles in Lennart Anderson’s work, poles that you see him gravitating towards and veering away from throughout his life: Anderson the dogged and humble observer of nature, but also Anderson the formal constructor and inventor.
We care less now about the subjects than the paintings, which reaffirm that the business of commissioned portraiture—historically treated as a second-level endeavor—was capable of producing breathtaking stuff, art of the first rank.
Kollwitz’s art was both a response to the suffering of others and a processing of personal experience. For Kollwitz, character born of hardship was indistinguishable from—lo, was the necessary source of—beauty.
An exhibition at the Royal Academy of Art asks, Does great art begin with studying nature, or studying the great art of the past?
With Lucian Freud, the issue isn’t nudity, and it certainly isn’t pornography. The problem is the insistence on the abundant stuff of the physical world.
Reviews
Moroni: The Riches of Renaissance Portraiture at the Frick Collection
Feb 27, 2019, 12:41 PM
Giovanni Battista Moroni receives his first retrospective in this country.
Two major exhibitions at the Peabody Essex Museum.
While Delacroix might defy easy classification among art historical “isms,” his lifelong devotion to drawing is certain.
What we can learn from the process of an artist who defies neat categorization.