February 15, 2014 | It's been more than half a century since the groundbreaking Loan Exhibition of Southern Furniture 1640-1820 held at the Virginia Museum of Fine Arts in 1952, and much has happened since then, not just in the study of southern furniture but of the decorative arts of the region as a whole. It is time, indeed, to revisit the subject on a grand scale, and the Colonial Williamsburg Foundation is doing so with A Rich and Varied Culture: The Material World of the Early South, a new long-term exhibition that opens on February 15 at the DeWitt Wallace Decorative Arts Museum. It will include some 350 objects drawn from Colonial Williamsburg's collection as well as from fourteen private collectors and ten other institutions, chief among them the Museum of Early Southern Decorative Arts in Winston-Salem, North Carolina, with which CWF recently inaugurated an innovative five-year partnership. The furniture, paintings, silver and pewter, ceramics, and architectural elements-to nam…» More
February 14, 2014 | We have published 92 February covers since 1922, and at least fourteen of them contain allusions to Valentine's Day.
1: Possible breakup cover 2002
January 30, 2014 | In the mid-nineteenth century Baron Haussmann's famous transformation of Paris into the city of wide boulevards and parks that we now know erased a medieval Paris of narrow streets and congested neighborhoods. This older Paris was captured by the photographer Charles Marville just before its demolition. Marville also photographed the new Paris as well as doing cloud studies and other experiments with the camera. In this extensive exhibition of this contemporary of Nadar, the museum will account for Marville's life and the full range of his work.
Charles Marville, Photographer of Paris • January 29 to May 4
Arts et Métiers (Ancien Modèle) by Charles Marville (1813-1879), 1864. Albumen silver print from glass negative. Metropolitan Museum of Art.
January 24, 2014 | Bamboo Yards, Kyobashi Bridge from the series One Hundred Famous Views of Edo by Utagawa Hiroshige I (1797-1858), 1857. Woodblock print. Museum of Fine Arts, Boston.
"Renaissance and Baroque Bronzes from the Hill Collection"; Brooklyn Museum, Brooklyn, NY
"Stories in Sterling; Four Centuries of Silver in New York"; Henry Morrison Flagler Museum, Palm Beam, FL
"Charles Marville, Photographer of Paris"; Metropolitan Museumof Art, New York City
"Fine Lines: American Drawings from the Brooklyn Museum"; Portland Museumof Art, ME
"Rugs in the Caucasus"; Georgia Museum of Art, University of Georgia, Athens
"Looking East: Western Artists and the Allure of Japan"; Frist Center for the Visual Arts, Nashville, TN
"Uncommon Folk: Traditions in American Art"; Milwaukee Art Museum, WI
"Between Mountains and Seas: Arts of the Ancient Andes"; Blanton Museum of Art, University of Texas, Austin
January 21, 2014 | Among the many discussions that are not worth anyone's time is the one about whether fashion should be considered art or not. When the American Folk Art Museum asked thirteen designers to create something based on an object in its collections, the idea was not to prove that, hey, designers are artists too, nor was it to rescue folk art by translating it into modish ensembles. The point was to allow an eighteenth-century quilt, a tattoo pattern book, a carved coyote, dog, or ram, or a paper cutout to live in another context-where we can see it again with a different eye-and to create something arresting in the process. When the exhibition of the designers' work goes on view at the museum, that point will be made. The lush dress that Creatures of the Wind designed inspired by a Eugene Von Bruenchenhein photograph of his wife, Marie, against a floral background is not an appropriation so much as an appreciation. Catherine Maladrino's white gown translates the complex designs o…» More
by Émile Jacques Ruhlmann (1879-1933), 1926. Macassar ebony, amaranth, and ivory. Metropolitan Museum of Art. By Cynthia Drayton» View All