The pairing of Victorian photographs with Pre-Raphaelite paintings at the National Gallery of Art puts their natural affinities on view.
An exceptionally rare survivor of pre-Revolutionary French style, the château de Montgeoffroy remains much as it was in the 1770s, right down to the tables, chairs, and copper pots—gracious, comfortable, and mad for chintz.
Nancy Berliner’s role as a consultant to the Palace Museum and the World Monuments Fund opened the door to an extraordinary traveling exhibition debuting at the Peabody Essex Museum in Salem, Massachusetts. She offers a microcosm of its treasures here.
In the following passage from Grant Wood: A Life (Knopf, 2010), R. Tripp Evans’s new biography of the man behind American Gothic (1930), the author examines a critical work from the artist’s mid-career: 1934’s Dinner for Threshers. Produced in the wake of dealer Maynard Walker’s pivotal 1933 show American Painting Since Whistler – the exhibition that gave rise to the movement later known as regionalism – Dinner for Threshers is both profoundly autobiographical and a testament to Wood’s use of old master sources.