John Wilson spent decades wielding charcoal and bronze to insist on Black dignity in a culture determined to erase it, creating art so confrontational that his 1952 lynching mural couldn’t be shown publicly in America even seventy years later.
With a half dozen works in the Wadsworth’s collection, it’s possible to construct an informal cultural timeline that touches on the Revolutionary War, the Gilded Age, Modernism, and twentieth-century issues of gender and race.
Winold Reiss’s greatest contribution to modern art may have been his insistence on the dignity of people, regardless of color.
“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.
The Players NYC has created a room in its landmark building named for Everett Raymond Kinstler, which includes twenty-five portraits by the artist.
On April 3, 2017, Daniel Greene’s portrait of former Chief Judge Jonathan Lippman was unveiled at the State Court of Appeals in Albany.
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.
Joseph Peller’s recent exhibitions in New York and China.
Ephraim Rubenstein is participating in the Portrait & Figure Festival as are Art Students League instructors Costa Vavagiakis, Sharon Sprung, and Michael Grimaldi.
David A Leffel, Sherrie McGraw, Gregg Kreutz, and Jacqueline Kamin will exhibit twenty works in a four-person show at the Salmagundi Club.