Jerry Weiss reviews two simultaneous exhibitions at the Lyman Allyn Museum of Art, First Impressions: Master Drawings from the Lyman Allyn Collection and Urban Realism in American Art (1890 – 1940).
Discovering small pleasures in the Norton Museum of Art’s permanent collection while the museum renovates and expands its facilities.
A little piece of rock fourteen miles out in the Gulf of Maine, Monhegan is the Mecca for landscape painters on the eastern seaboard.
Americans responded to war then with the same varied attitudes as we do now: a selection of the jingoism, rage, horror, and grief of a century ago is on display at the New-York Historical Society in World War I Beyond the Trenches.
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?