There are a couple of exhibitions of nineteenth-century landscape painting now on view at the Morgan Library & Museum.
A master of the unbroken contour, Schiele could suggest the living swells and valleys of a figure so dexterously that any elaboration by means of value would have been, well, academic.
A lot of us will never get to Edinburgh, but a choice piece of Scotland is visiting New York: Masterpieces from the Scottish National Gallery has opened at the Frick.
“For me, with Pollock’s Mural, I was looking at something that had been created that was about art, that was about itself, that could be its own reference.” —Bruce Dorfman
American Mirror: The Life and Art of Norman Rockwell is an impeccably researched and highly readable biography of a man that many Americans feel they already know.
We have all had the experience of going to an exhibition and having one painting stand out so completely in your mind, that you remember little, if anything else, about what you have seen.
Whenever looking at cast sculpture—whether plaster, bronze, or of other materials—we must realize that many hands have touched the work, beginning to end.
Al Hirschfeld brought a new set of visual conventions to the task of performance portraiture. His signature work, defined by a linear calligraphic style, appeared in virtually every major publication …
Much of Piero’s life and travels are matters of quiet conjecture. In a sense, he was what might be called today an independent or an artist’s artist. His identity and the character of his art were not centered on the artistic and political pressures of Florence, Siena, and Rome.
In the second floor hallway of the Metropolitan Museum, the opening wall text of Pastel Portraits: Images of 18th-Century Europe describes the physical components of pastel and concludes with the phrase “this little understood medium.” Juxtaposed on the adjacent wall are over-life-sized photographs of the pastel-making process. These gripping introductions to the Metropolitan Museum’s first pastel…