Painter Jerry Weiss isn’t so sure Flaming June is the best picture in the room at the Frick Collection.
The Museum of Biblical Art closes its run with a memorable show of twenty-three works representing the pinnacle of Florentine sculpture in the early Renaissance, never before seen in this country until now.
The Migration Series is treated less as art than as a point of departure for a walk-through documentary.
Two current exhibitions feature notable painters of the urban scene, Richard Estes and John Dubrow.
Voyeurs in Virgin Territory, a show of nineteenth-century landscape painting on view at Questroyal Fine Art, is a beauty.
Welliver’s palette, devoid of earth tones, was chosen to suggest the presence of air and to create an image that would parallel, rather than replicate, the luminosity of nature.
The Metropolitan Museum’s Madame Cezanne and its accompanying catalogue go a long way toward rewriting a well-worn narrative of conjugal disfunction.
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.
“To speak of great drawing is, by implication, to refer to the art of hatching,” writes Jerry N. Weiss. “It’s a technique born of a practical consideration: how best to translate three-dimensional imagery to paper.”
Peter Reginato received mention in the New Criterion and critic Piri Halasz’s blog An Appropriate Distance.