Researchers may have finally identified the utility of the rock in Jean Fouquet’s “Melun Diptych.”
Just weeks after the Florida school debacle, an Italian restaurant in Scotland had to edit out the marble statue’s crotch.
In a new theory, scholar Adriano Marinazzo posits that Michelangelo painted himself as God in his famous Sistine Chapel fresco “The Creation of Adam.”
We know precious little about the painter’s life, and we know even less about his work’s meaning. A new book argues that the artist wanted it that way.
The tapestries — made out of silk, wool, and gold and silver thread — have been restored over the past decade by conservationists at the Vatican Museum.
When an unexpected opportunity arose to spend her year living in the famed Palazzo Rucellai, Allison Levy seized on it.
Alessandro Michele, Gucci’s creative director, is obsessed with Renaissance art.
Relative Values: The Cost of Art in the Northern Renaissance at the Metropolitan Museum of Art uses the cost of a cow to consider the worth of 16th-century objects.
The Bowdoin College Museum of Art is exhibiting memento mori objects from Renaissance Europe, often grotesquely designed to startle viewers into recognizing mortality.
Forgive me, for I have sinned. I peeped at a lady’s ankle through an open window and carved an idol in my own image.
The finest glassware of the Renaissance was made by artisans on the Murano island in Venice, and their techniques were intensely guarded.
The watermelons of our summers are not the watermelons of yesteryear, as demonstrated by a 17th-century painting by Italian artist Giovanni Stanchi.