An exhibition at the Frick Collection unites for the first time three of J.M.W. Turner’s 1820s port paintings, created in an age of newly open borders in Europe.
Some days ago — never mind the count — having not much purpose in the Metropolitan Museum of Art, and nothing in its galleries otherwise to interest me, I thought I would wander a little and found myself in the most watery part of the institution.
J.M.W. Turner, the great English landscape painter who obsessed over light, will be featured on the new £20 banknote in the UK.
At a press preview earlier this month, Sheena Wagstaff, the Metropolitan Museum of Art’s chairwoman for modern and contemporary art, said that “arguably only the Met” could put on a show like Unfinished: Thoughts Left Visible.
On this week’s art crime blotter: Brigitte Bardot goes after artist for using her image, tourists snap naked group photo on sacred Malaysian mountain, and Russia crucifies trash Jesus.
“Painting can never show her nose in company with architecture but to have it snubbed,” J.M.W. Turner once said.