We owe this rare opportunity to visit the Royal Collection to the temporary closure of the Picture Gallery, where the artworks usually hang.
Despite the British Museum’s active participation in work towards restitution, the current display and captioning fail to be forthright or responsible.
Abramović’s interests lie more with perpetuating herself as a product than with what she actually expresses through her art.
Seeing how impressive and successful Gentileschi was in her lifetime, it is staggering that it has taken a show such as this to dispel her unfair dismissal by art history.
The political, dynastic, and religious machinations of this era should have provided ample material for a meaty exploration of the relationship between art and power.
A show at Vienna’s Albertina reverses the more commonly held belief in art history that drawings are merely preparatory to paintings.
A recently discovered work by a long-overlooked Baroque painter didn’t attract the interest that Christie’s prestigious Old Masters auction seemed to expect.
The UK’s first show of the famously gruesome seventeenth century Spanish painter places his monumental works in historical context.
Frieze Masters, where art from before the 20th century is for sale, raises questions about the sociopolitical role of art fairs and what small galleries gain by participating.
The collection is not widely recognized as a trove of ancient art and artifacts, but hosts a rich collection with an occasionally troubled history.
The Dorotheum auction house will sell the Baroque painter’s “Lucretia,” heavily advertising the artists traumatic past as a 17th-century woman.
Michaelina Wautier’s artistic talent was on par with that of her famous male contemporaries, like Rubens and Van Dyck. The first-ever retrospective of her work offers long overdue recognition.