The Magazine Antiques - Most Recent Articles The most recent articles from The Magazine Antiques. Sat, 03 Dec 2016 04:38:19 +0100 FeedCreator 1.7.2 Ahead of the curve: The Newark Museum now and then <p>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</p> By Ulysses Grant Dietz Mon, 20 Jan 5012 00:00:00 +0100 Dealers' Choice: The noteworthy art collection of gallerists Abbot and Marcia Vose of Boston ... <p>The term "old school" could almost have been invented to describe the Vose Galleries, that venerable Boston art institution now celebrating its 175th year in business. In honor of that almost unprecedented milestone for an art gallery, the two owners, Abbot "Bill" and Marcia Vose, who have been married for forty-four years, have decided to put on display a selection of their private collection of American impressionists, assembled over the past four decades, as part of an exhibition titled <em>Crosscurrents: The Colonies, Clubs &amp; Schools That Established Impressionism in America.</em></p> By James Gardner Tue, 29 Nov 2016 00:00:00 +0100 An old master, newly arrived: Valentin de Boulogne at the Metropolitan Museum of Art <p>A rather depressing article appeared recently in the New York Times concerning a steep and sudden decline in the market for old master paintings. "At a time when contemporary art is all the rage among collectors, viewers, and donors," Robin Pogrebin wrote, "many experts are questioning whether old master artwork&mdash;once the most coveted&mdash;can stay relevant at auction houses, galleries, and museums." There can be a no more thunderous rebuttal to the notion that old masters are irrelevant than the new exhibition of Valentin de Boulogne at the Metropolitan Museum of Art.</p> By James Gardner Wed, 16 Nov 2016 00:00:00 +0100 From specimens to souls: The evolution of early portrait photography at the Cleveland Museum of Art <p>Every photographic portrait confers on its subject some degree of immortality. We take for granted the ability to know what a person looks like, since images of family, friends, and famous strangers dead and alive are at our fingertips through a Google Images or Facebook search. But until 1839 only the wealthy could have a likeness recorded, share it with others, and leave it behind for future generations.</p> By Barbara Tannenbaum Tue, 08 Nov 2016 00:00:00 +0100 The ancien regime’s master of precious metals: Celebrating Pierre Gouthiere at the Frick <p>This month the Frick opens<em> Pierre Gouthi&egrave;re: Virtuoso Gilder</em> at the French Court, the first show devoted to the work in gilded metal&mdash;traditionally called <em>bronze d'or&eacute;</em> in French&mdash;by an artist whose achievements placed him among the finest French masters of the eighteenth century.</p> By Barrymore Laurence Scherer Tue, 08 Nov 2016 00:00:00 +0100 Finding beauty in decay: The documentary photography of Sherman Cahal <p>For almost twenty years Sherman Cahal has traveled the Middle West and Appalachia, photographing residential, industrial, and commercial buildings that exist in various states of disrepair and decay, creating a visual record that is, of course, sad, but that also invokes the peculiar appeal of old, worn things.</p> By Sammy Dalati Fri, 04 Nov 2016 00:00:00 +0100 Artistic Affinities: On the edge of something new at the Shelburne Museum <p>Electra Havemeyer Webb, the founder of the Shelburne Museum, was a collector of astonishingly wideranging interests. Her diversity of tastes is reflected in holdings that include carriages, decoys, weather vanes, and antique bedcoverings, as well as paintings by Manet, Courbet, and Monet, and the steamboat Ticonderoga. Yet with its pastoral Vermont setting and a campus dotted with examples of vernacular New England architecture, the museum is primarily associated by many with its outstanding collection of folk art and Americana.&nbsp;</p> By Carolyn Bauer Thu, 03 Nov 2016 00:00:00 +0100 Glass Act: A new show at the Jewish Museum examines the life and work of art deco master Pierre ... <p>With its stunning façade composed almost entirely of textured glass blocks set in a steel framework, the Maison de Verre, or &ldquo;House of Glass,&rdquo; designed and built between 1927 and 1932, is one of the most remarkable buildings in Paris.&nbsp;</p> By Gregory Cerio Wed, 02 Nov 2016 00:00:00 +0100 Painting with fire <p>Enameling and the Cleveland school.</p> By Bernard N. Jazzar and Harold B. Nelson Mon, 24 Oct 2016 00:00:00 +0100 Sculpting Joy: Experiencing the artist and his art at the Renee and Chaim Gross Foundation <p>In the entranceway to the Renee &amp; Chaim Gross Foundation, located in a town house in historic Greenwich Village, two sculptures by Chaim Gross welcome visitors to the place where he worked and lived. Together, they announce the hallmarks of his art. &nbsp;</p> By Diana L. Linden Thu, 20 Oct 2016 00:00:00 +0100 Case History: Lost and found <p>How a tsunami-tossed pair of sacred Japanese artifacts found their way across the Pacific and back home again.</p> By Paula Deitz Fri, 14 Oct 2016 00:00:00 +0100 That was another country <p>Precisely because photography is thought to be the most objective of all mediums, it acquires over the course of years, and seemingly in spite of itself, a haunted quality that no other product of visual culture can claim to the same degree.</p> By James Gardner Fri, 23 Sep 2016 00:00:00 +0100 Treasury Notes <p><em>With a boost from Broadway, the caretakers of Hamilton Grange cast new light on the charms of Alexander Hamilton's once bucolic home.</em></p> By Elizabeth Pochoda Fri, 16 Sep 2016 00:00:00 +0100 Idle Hours: William Merritt Chase and modern leisure <p>"Idleness opens up for any one who has eyes to see and a mind to dream a playground of infinite variety," wrote novelist Arthur Pier in 1904 for the magazine <em>Atlantic Monthly</em>.1 William Merritt Chase had eyes to see the liberating benefits of idleness, and he found motifs of infinite variety in America's playgrounds.&nbsp;</p> By Erica E. Hirshler Tue, 06 Sep 2016 00:00:00 +0100 The Real American Grotesque <p><strong><em>A group of circus posters at the Shelburne Museum illustrates the routine stereotypes and exploitative practices of circus owners as they battled one another for primacy.</em></strong></p> By Kory W. Rogers Tue, 23 Aug 2016 00:00:00 +0100 Paul Landacre’s world <p>The brilliance of the master printmaker owed something to the patronage of Hollywood royalty but a great deal more to the dynamism of early California modernism.</p> By Jake Milgram Wien Thu, 18 Aug 2016 00:00:00 +0100 Mr. Boyd and Mr. Miles: A New York State portrait artist deciphered <p>Early nineteenth-century American portraiture includes a number of small profile likenesses in oil, pastel, and watercolor by artists such as C. B. J. F. de St. M&eacute;min, James Sharples, Gerrit Schipper, and Jacob Eichholtz. All follow the European fashion for profiles, namely emulating those on Greek vases and Roman coinage, and are thus fitting for the neoclassical motifs and styles of the new republic.&nbsp;</p> By David R. Allaway Tue, 09 Aug 2016 00:00:00 +0100 Whose history is it? <p>For years I&rsquo;d heard people expressing doubts as to whether the Smithsonian Institution actually needed a tenant devoted to black American history and culture. These misgivings didn&rsquo;t come from whites only, but from black and brown people too. &nbsp;The more knowledgeable&mdash;or, anyway, least blinkered&mdash;of such skepticism circled around whether such a place wouldn&rsquo;t be redundant since there was already a National Museum of American History on the National Mall, where you could &nbsp;find some of the same things the newer place was going to display.&nbsp;</p> By Gene Seymour Thu, 28 Jul 2016 00:00:00 +0100 Let's Just Call It Art <p>The work of Ronald Lockett, like that of Thornton Dial, Lonnie B. Holley, and others in the Birmingham-Bessemer circle, uses found materials to address environmental, historical, and political themes in ways that go beyond the usual categories.&nbsp;</p> By Bernard L. Herman Fri, 22 Jul 2016 00:00:00 +0100 Mourning Becomes Them: The death of children in nineteenth-century American art <p>"In the midst of life we are in death."&nbsp;</p> <p>These familiar words, which marched across sermons and samplers alike in the early decades of the American republic, surely resonated with sixteen-year-old Charlotte Sheldon in the summer of 1796.</p> By Catherine E. Kelly Thu, 21 Jul 2016 00:00:00 +0100