Even if you’re not very knowledgeable about Chinese art, you’ll find this is an astonishing show—rich in beauty and history, well-curated, and leaving visitors wanting to learn more.

Even centuries after its creation, the works in this exhibition challenge us to think whether we are so very different or so much more advanced today than the people Rembrandt depicts.

Hundreds of Parisian Catholics, many of them young people, were kneeling together on the streets around the burning cathedral for hours, well into the wee hours of the morning.

In this single work, Tintoretto manages to demonstrate his astonishing artistic skill, while simultaneously evoking the wealth and power of the Venetian Republic.

The first major exhibition dedicated to Giovanni Battista Moroni’s work ever mounted in the United States opened recently at the Frick Collection in New York.

What happens when you come to own a very old painting that’s in need of some tender loving care? For pity’s sake, don’t break out the soap and water.

Always thinking about the mythology he was inventing, Tolkien would draw on any paper that came to hand as he imagined the peoples and cultures of Middle-earth.

‘Public art is an idiotic type of private art that should be in a whitewall gallery, safely away from the general public, amongst the cultural psychopaths to whom it ministers.’

How the French artist and accidental aviator introduced people all over the world to the harsh realities faced by service members during World War I.

A flawed new exhibition on the work of French Impressionist Berthe Morisot is still worth seeing. It’s in Philadelphia, then Dallas, before arriving in Paris.

As you may have seen in the news, there’s been another art ‘restoration’ incident, this time in the village church at Rañadorio, in the northwest Spanish region of Asturias.

It’s fascinating to think about what these maps by Leonardo da Vinci and Albrecht Dürer have meant to the history of mankind.

The Newark Museum’s new exhibition provides an enlightening examination of two simultaneous currents in nineteenth-century American and European art.

‘Zurbarán’s Jacob and His Twelve Sons,’ a current Frick exhibit, brings together for the first time in this country 13 monumental paintings of the biblical patriarch Jacob and his 12 sons.

So is Leonardo da Vinci’s ‘Salvator Mundi’ worth $450 million? I don’t think that’s the real question—or at least, it’s not the ultimate one.

Many art institutions are torn between the potential advantages of digital mass media, and the lurking dangers its use poses to both their collections and to art appreciation overall.

There’s nothing wrong with Midcentury Modern design and open-concept houses. But we shouldn’t forget the artistry and beauty of older designs, either.

This gives us the chance to look at some beautiful objects, delve into history, and reflect on why the martyrdom of a first-century Christian is still relevant almost 2,000 years later.

Let’s consider three works by three Old Master painters that depict three important moments in the story of Christ’s birth, and just so happen to feature some tiny text.

Now is a good time to consider where the two main candidates stand, not on the issues, but in the eyes of the art world.