In a better world we would all be thronging the doors of the Newark Museum; in the best of worlds Ulysses Grant Dietz would be there to meet us, taking us through the galleries with fellow curators Christa Clarke and Katherine Anne Paul
The fruits of extensive research on Benjamin Henry Latrobe’s 1808 house and furniture for William and Mary Waln begin with their impact on the aesthetic of the city itself.
Elisabeth Louise Vigée Le Brun was the most sought-after portraitist of the ancien régime. A retrospective at the Metropolitan Museum of Art rightly calls attention to her extraordinary talent rather than her gender.
The story goes that the Dutch, sailing up the Delaware River, missed the marshy entrance to its largest tributary. Upon discovering their mistake, the Europeans dubbed the waterway the Schuyl Kill, or “Hidden River.” The Dutch were soon squeezed out of Pennsylvania by the Swedes and then the English, but the name somehow stuck, showing up as the “Scool Kill River” on Thomas Holmes’s 1683 Portraiture of the City of Philadelphia, the idealized plan for William Penn’s city imagined as a grid of streets and squares set between two rivers.