The Gilded Age of Drawing in America, now on view at the Metropolitan Museum of Art, presents three dozen remarkable and rarely seen drawings by artists, both famous and lesser known.
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.
Themes that I’d find irredeemably cornball from any other artist are rescued both by Abbott Thayer’s prickly earnestness and his formal abilities as a draftsman and painter.
One of the things that’s impressive about van Dyck is his ability to portray introspective subjects with theatrical flair.
Degas and Van Gogh shared common ground in their disdain for convention, or more to the point, a willingness to circumvent conventional means when necessary, which is to say frequently.
A review of Paula Modersohn-Becker at Galerie St. Etienne by Jerry Weiss.
A survey of the Renaissance master’s drawings lands in New York.
Deattributions often go unnoticed, in large part because nobody wants to publicize them. Conversely, it’s news when an artwork is promoted to the canon of a master.
Jerry Weiss writes about Paul Gauguin and John Singer Sargent in the September issue of The Artist’s Magazine.
The necessity to impress patrons tinges everything Sargent painted; ever the master of prestidigitation, even in his relaxed moments he is a thoroughly public artist. No other major painter’s manual dexterity is so central to his identity.