Members of Just Stop Oil took a hammer to the glass protecting “Rokeby Venus” at the London museum.
He contributed to his own obscurity by portraying his sitters and characters with humor and smiles, rather than aloof nobility.
What of Saint Francis, that selfless feeder of the birds and the animals? Does he not deserve to be remembered benignly?
Visitors to the National Gallery in London have spotted what looks like a pair of Nike sneakers in Ferdinand Bol’s “Portrait of Frederick Sluysken” (1652).
Here they are at the National Gallery, almost all at once, all those modern artists we came here to see, those we have come here to report having seen later.
We go to Raphael for idealized beauty. But what if a painting were the opposite of beautiful, and utterly arresting for that very reason?
A curator at London’s National Gallery believes the subject of painter Quinten Massys’s painting “is most likely a he.”
The real target of Just Stop Oil’s tomato soup action wasn’t Van Gogh’s painting. It was our complacency.
The work, which is behind glass at London’s National Gallery, was part of Just Stop Oil’s latest protest action.
Calls to rename the mislabeled work have intensified since the Russian invasion of Ukraine.
A new report by the museum names the “art collectors, connoisseurs, donors, and founders of museums and galleries across Britain” who benefitted from enslavement.
Titian was, as the great English poet Geoffrey Chaucer would put it, a ‘man’s man,’ accustomed to showing off his posturing pride.