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.
Thousands of museum-owned objects are sitting in basements, warehouses, and storage depots around the world while their owners simultaneously plan expensive expansions and slash budgets.
Hieronymus Bosch remains one of the most fascinating painters who has ever lived. Madrid’s The Prado is holding a magnificent 500th anniversary commemoration.
Manhattan’s Frick Collection is featuring a rather disjointed collection of excellent art by the seventeenth-century portrait artist Anthony Van Dyck.
Elizabeth Vigée Le Brun created attractive, engaging images that were designed to tell the viewer what the sitter wanted them to know.
Alexander Gardner’s work not only covered portraits of the famous and infamous, the battlefields and the dead, but images of an America entering a new and very different age.
Take the time to get to know the work of John Singer Sargent, which offers us a marvelous opportunity to learn how to look at art and at ourselves.
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