The intimate drawings of Michelangelo Buonarroti and the largest painting Pablo Picasso ever made.
Pablo Picasso
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A Year in the Life of Pablo Picasso
An exhibition at the Musée National Picasso in Paris tracks the artist’s life and work, month-to-month, in 1932.
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Perpetuating the Idea that Modernism Triumphed by Appropriating “Tribal” Art
For all the scholarly expertise employed, an exhibition at Almine Rech Gallery comes off as an exasperating magical negro narrative.
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Books, Wefts, and Black Lives Matter at the Baltimore Museum of Art
The rewards of what is in plain sight far outweigh what is tucked away.
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In Search of Olga, Picasso’s Muse and First Wife
An exhibition at Paris’s Picasso Museum sheds new light on the woman mostly known through her husband’s gaze.
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The 1940s Royal Academy President Who Considered Picasso “a Menace”
Sir Alfred Munnings, president of the prestigious Royal Academy of Arts in the 1940s, was famous for his masterful paintings of racehorses.
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Apollinaire, the Immigrant Poet Who Shaped the Parisian Avant-Garde
PARIS — On September 7, 1911, French police arrested poet Guillame Apollinaire for stealing the Mona Lisa.
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Picasso and Matisse Trade Blows in a Cubism vs. Fauvism Bar Brawl
Pablo Picasso and Henri Matisse were the 20th century’s greatest artistic frenemies.
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In the Jungle of Henri Rousseau’s Imagination
PARIS — Henri Rousseau is art history’s best-known naïf painter.
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Weaving Together Current Events, with a Touch of Fantasy
Here we are, it’s June — exam time. A prompt from the art history final: “Discuss an example of a ‘history painting’ that depicted current events. What would ‘history painting’ look like in the present?”
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Crimes of the Art
On this week’s art crime blotter: Spanish police arrested seven people for Francis Bacon heist, a Picasso thief preyed on a Chelsea gallery, and an artist lost his head after someone stole his guillotine sculpture.
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Never Mind the Bollocks, It’s the Met’s Breuer Now
I realize that I’m coming late to the party with Unfinished: Thoughts Left Visible, one of the three debut exhibitions of the Met Breuer, and I have little to add to the conversation about the fundamental problem with the show.
