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Hyperallergic

Hyperallergic

Sensitive to Art & its Discontents

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Natasha Seaman

Natasha Seaman is a professor of art history at Rhode Island College with a specialty in 17th-century Dutch painting.

Posted inArt

The Problematic Allure of Titian’s Poesie Paintings

by Natasha Seaman September 23, 2021September 23, 2021

Titian’s paintings are masterpieces, with all the complications of the term.

Posted inArt

A Silver Exhibition’s Classist Undertones

by Natasha Seaman June 8, 2019June 10, 2019

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.

Posted inArt

An Artist’s Commentary on the Damages of Men

by Natasha Seaman March 23, 2019March 22, 2019

The most shocking thing about Sarah McCoubrey’s paintings is their startling and deeply unfashionable, unapologetic beauty.

Posted inArt

Botticelli Through a Graphic Novelist’s Eye

by Natasha Seaman March 10, 2019March 11, 2019

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.

Posted inArt

Yugoslavia’s Complicated Modernism

by Natasha Seaman October 13, 2018October 12, 2018

The 20th-century architecture of Yugoslavia was the result of a concerted national effort to modernize and unify.

Posted inArt

Looking for Leonardo in Verrocchio’s Studio

by Natasha Seaman September 22, 2018September 21, 2018

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.

Posted inArt

Searching for Redemption in Post-WWII German Art

by Natasha Seaman May 5, 2018May 4, 2018

While Inventur proposes that we seek to understand and empathize with these artists, their biographies constantly nag at the moral centers of the brain.

Posted inArt

The High Life of Vermeer and his Contemporaries

by Natasha Seaman December 2, 2017December 1, 2017

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.

Posted inArt

Diversity and Fraternity in 19th-Century French Prints

by Natasha Seaman October 7, 2017October 6, 2017

The Société des Aquafortistes encouraged not only the printmaking arts, but also a sense of camaraderie among its artists.

Posted inArt

The Heavy Metal Symbolism of the Salon Rose+Croix

by Natasha Seaman July 29, 2017July 28, 2017

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.

Posted inArt

A World Unto Himself: The Mysterious Landscapes of Hercules Segers

by Natasha Seaman May 6, 2017May 5, 2017

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.

Posted inArt

The Sweet Life: Carlo Dolci at the Davis Museum, Wellesley

by Natasha Seaman March 18, 2017March 22, 2017

Dolci (1616-1686), like Michelangelo and Botticelli 150 years before him, worked in Florence in the employ of the Medici family.

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