What James wrote about the art of American painters still makes for good reading, as he had a facility for wrapping snark and appreciation in the same package.
With a stringent palette and relentless attention to topographical landmarks as well as the distances between them, Patrick George imposed an intimate order on the pastoral landscape.
In this exhibition, twenty-five paintings, a musical instrument, and photographs highlight aspects of Y.G. Srimati’s life, which coincided with an awakening of Indian cultural identity at the time of independence as well as a burgeoning awareness of Indian culture in the West.
Galerie St. Etienne’s The Woman Question: Gustav Klimt, Egon Schiele and Oskar Kokoschka is a showcase of figure draftsmanship and a master class in linear economy.
The current show at Met Breuer confirms that Marsden Hartley’s works number among the very best paintings of Maine, and of American modernism.
How many white women painters in the 1940s, no matter how bohemian, opted for Spanish Harlem over Greenwich Village?
Turner’s narrative intent is forever sublimated to the beauty of the painting.
Gems from the collection of Count Carl Gustaf Tessin that became the nucleus of the Nationalmuseum of Sweden, founded in 1792.
The circus has something alluring, strange, even exotic about it that proves to be compelling, funny, and sad.
Alfred Sisley possessed the ability to synthesize influences, not only those of Corot and Monet, but Constable and Renoir as well, without the ambition to mold his borrowings into an instantly recognizable and trademark-ready product.