At some point you go to so many museums it loses the thrill, and you wonder if you’re going just because it’s there and it’s a comfortable habit. In the span of a month, I went to the National Gallery, the Phillips Collection and the Smithsonian Museum of American Art and Portrait Gallery in Washington; […]
Two questions came to mind as I wandered through Corot Women at the National Gallery of Art: how many variations are there on the word “melancholy,” and is it acceptable to judge a work of art on the attractiveness of the model depicted? Of the 44 paintings in the show, spanning the half-century 1826-1874, more […]
Seeing 150 works in the Met’s first-ever-in-North-America retrospective of Eugene Delacroix I came to the conclusion that he was a one-trick pony. There was little or no development or change detectable from his first works, which were revolutionary in the 1820s, to his last and worst in the ’50s. The trick, so to speak, was […]
Kudos to the organizers of this exhibition for using major international loans to make an art-historical point. It’s one thing to say that Britain’s Pre-Raphaelite Brotherhood was inspired by certain Renaissance artists; it’s quite another to show their work cheek-by-jowl with actual paintings they would have known in London in the 1850s. The most telling […]
Over May and June of this year I’ve had occasion to visit a half-dozen special exhibitions, from the spectacular to the routine to the overstuffed. Far and away the best, and perhaps the best I’ve ever seen, was “Power and Beauty in China’s Last Dynasty,” designed by Robert Wilson. Each gallery was theatrically lit, with […]
Thomas Cole is a crucial, but transitional, figure in the history of American landscape art, bridging the European world of myth and legend with the American world of boundless nature. This can be seen, most famously, in his five-part Course of Empire series in which the unspoiled world of the Native American gives way to […]
The “Cult of the Machine” at San Francisco’s DeYoung Museum spotlighted American artists’ fascination with the industrial boom roughly between the World Wars, when machines equaled progress and the future and, therefore, became a new vocabulary for the decorative and visual arts. I was hooked immediately by Morton Livingston Schamberg’s nonsense machines, precisely drawn and […]
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