Leonard Baskin addressed the Holocaust late in life and more than fifty years after the war, but when he finally confronted the theme, he did so with ferocity.
Exploring the formal and thematic frictions within Winslow Homer’s paintings on view in the Met’s “fairly perfect exhibition,” Winslow Homer: Crosscurrents.
“Holbein: Capturing Character” is up at the Morgan Library, and notwithstanding the reductive title, the show is a testament to the age of European humanism, and specifically to Hans Holbein’s role in painting its most prominent personalities.
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.
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.
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.