About forty works of art—mostly paintings—by the self-anointed “Queen of Chicago,” are on view in Gertrude Abercrombie: Portrait of the Artist as a Landscape, a show that originated at the Elmhurst Art Museum and will be presented at the Illinois State Museum this spring.
How John Sloan used the nude as a vehicle for artistic experimentation and political expression.
The artist Annie Traquair Lang begins to emerge from the shadow of her mentor and paramour, William Merritt Chase.
The life and career of Edith Dimock Glackens.
On view at the National Gallery of Art, Fragonard’s tetes de fantaisie evince some of the earliest stirrings of modernism.
In the closing years of the seventeenth century, Cristóbal de Villalpando was, in all likelihood, the best-known painter in the New World—and most of us have never heard of him.
Rain, snow, high winds, and vertiginous mountain peaks—these were not a problem for the prolific landscape artist Abby Williams Hill (1861–1943), one of the most intrepid plein-air painters America has ever produced.
When modernism dominated art in the United States, from the interwar period onward, Morris Davidson was a prominent and widely exhibited painter—as well as a teacher, a critic, and a leader of arts organizations. And yet, since his death in 1979, his work has fallen into obscurity.
A feminist with a penchant for wit, whimsy, and social satire, the artist and Jazz Age saloniste Florine Stettheimer (1871–1944) has often, and unfairly, been misconstrued by critics: her playfulness misread as frivolity, her style and subject matter cast as lacking gravitas.
When citing the formative influences on the American artist William Glackens, we tend to round up the usual suspects: Diego Velázquez, Frans Hals, Édouard Manet, and Pierre-Auguste Renoir. It is true that all of these painters, as well as Edgar Degas, Théophile Steinlen, Claude Monet, and Henri Matisse, evoked Glackens’s admiration, and he firmly believed that Americans who wished to …
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