It is hard for us now to recapture the sense of miracles that surrounded the woodcut in the waning days of the fifteenth century. The idea that an image could be cheaply and infinitely replicated meant that henceforth, art, and even great art, formerly the exclusive domain of princes and wealthy merchants, might adorn the lives of common men.
Even in such early work as The Clove, Catskills (1827) and View of Monte Video, the Seat of Daniel Wadsworth, Esq. (1828), the facture and compositional strategies employed by Thomas Cole—a working-class boy from northern England, self-taught as an artist—demonstrated surprising conversance with European landscape painting of the time.
The Met’s exhibition of work from the Souls Grown Deep Foundation has the power to reframe the critical discussion of art.
The Winterthur Museum in Delaware unveils an eye-catching exhibition of seven new garden follies
This New York Historical Society exhibition documents history through trends in footwear.
An exhibition at the Morgan Library explores the meaning of monsters in medieval manuscripts
Touted as the first exhibition of its kind, Black Out: Silhouettes Then and Now features historical silhouettes alongside analogous work by contemporary artists.
Not an Ostrich: And Other Images from America’s Library, on view this summer at the Annenberg Space for Photography in Los Angeles
Central to Their Lives: Southern Women Artists in the Johnson Collection
Peter Aaron’s photographs preserve the majesty of Levantine sites damaged and destroyed in the ongoing conflict