The Swiss artist Nicolas Party is both the subject and curator of Pastel, an extraordinary exhibition examining the under-appreciated, fugitive medium and its history.
Renoir: The Body, The Senses makes some attempts, vain in my opinion, to present Renoir as a politically progressive artist, even a closet feminist.
Conservation scientists at the Fitzwilliam Museum shed some light on the everyday objects forming the armatures of three surviving beeswax sculptures.
His virulent belief system, which led him to cut off his Jewish friends in the wake of the Dreyfus Affair, is unredeemed by his art.
The exhibit at the Legion of Honor Museum includes paintings by Impressionists, along with period hats and bonnets embellished with silk flowers, ribbons, plumes, and feathers.
The first painting I saw in 2016 was “Cockman Always Rises Orange” (2015): we can’t say we weren’t warned.
This list barely scratches the surface of the city’s artistic offerings this year, from overdue retrospectives to surprising sides of artists we know well.
The first picture that caught me up short was “Factory Smoke” (1877–79), hanging alone on a freestanding wall in the middle of the gallery.
PARIS — Perhaps out of a kindred permissive, libertine spirit, prostitution — both chic demi-mondaine and lascivious, pierreuse street-walker style — played a central role in the nascent development of modern painting.
On this week’s art crime blotter: refugees reject Banksy’s gesture, Hobby Lobby family investigated for Iraqi loot acquisition, and art that looks like trash gets tossed.
In 1915, with the newly innovated film camera, a young Russian-born, French actor named Sacha Guitry captured some of France’s greatest artists and authors.
Life Lines: Portrait Drawings from Dürer to Picasso at the Morgan Library & Museum may not venture very far beyond canonical European artists, but it uncovers richness and diversity within a circumscribed field, especially in the work of its two anchors, Albrecht Dürer and Pablo Picasso.