Titian’s paintings are masterpieces, with all the complications of the term.
Despite the artistry on display in this Gorham Silver exhibition, I found it difficult to suppress a kernel of class hatred in looking at it.
The most shocking thing about Sarah McCoubrey’s paintings is their startling and deeply unfashionable, unapologetic beauty.
For Botticelli: Heroines + Heroes, the painter, cartoonist, and graphic novelist Karl Stevens was called in to provide interpretive drawings of the Renaissance master’s paintings.
The 20th-century architecture of Yugoslavia was the result of a concerted national effort to modernize and unify.
Leonardo’s hand is fleshed out in this exhibition, but so is that of Lorenzo di Credi, Jacopo del Sellaio, and other workshop assistants to whom no name can be attached.
While Inventur proposes that we seek to understand and empathize with these artists, their biographies constantly nag at the moral centers of the brain.
Vermeer and the Masters of Genre Painting reinserts Vermeer into the tradition in which he worked, both demystifying his paintings and lending force to his particular take on the genre.
The Société des Aquafortistes encouraged not only the printmaking arts, but also a sense of camaraderie among its artists.
A show of Symbolist paintings at the Guggenheim makes it clear that 19th-century France had an infinitely more interesting fin-de-siècle flip-out than we did in the 20th.
Even in Segers’ early work, there is a sense of perversity, not with the Modernist goal to épater la bourgeoisie, but in a kind of damn-it-all, Mr. Toad behind-the-wheel sort of way, boop-booping and careering down the road for the sheer pleasure of it.
Dolci (1616-1686), like Michelangelo and Botticelli 150 years before him, worked in Florence in the employ of the Medici family.