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Scholars be warned: Spitzmaus Mummy in a Coffin and Other Treasures, a current exhibition at the Kunsthistorisches Museum in Vienna, is not for you. If, on the other hand, you’re a fan of such films as The Grand Budapest Hotel and The Royal Tenenbaums, you just might love the show.
“Almost an hour this side of Albany is the Center of the World,” wrote Frederic Edwin Church (1826– 1900) to his friend sculptor Erastus Dow Palmer. He added: “I own it.” Church, preeminent among the Hudson River school painters, was referring to Olana, his magnificent “Persian” style mansion and the surrounding 250 mountaintop acres of landscape he subtly designed.
Overshadowed by her sister Georgia, Ida Ten Eyck O’Keeffe gets her day in the sun with an exhibition at the Dallas Museum of Art
The exhibition Art of Native America brings this country’s first art to the newly invigorated American Wing of the Metropolitan Museum of Art
At the Winter Show’s 2019 sapphire jubilee, Curious Objects hosted a panel discussion with four young mavens of the antiques world—Michael Diaz-Griffith, associate executive director of the Winter Show; Emily Bode, designer and founder of fashion label Bode; Carleigh Queenth, vice president and specialist head of the European ceramics and glass department at Christie’s, New York; and Ben Miller—in the Park Avenue Armory’s resplendent Herter Brothers–designed Board of Officers Room.
An exhibition at Columbia’s Wallach Art Gallery includes a study of the black figure in the art of the French impressionists
The exhibition only has sixteen works on view, yet it seems much larger. Each object has such vitality and presence: from a North Carolina quilt across which five stylized coral snakes wriggle, to a mid-nineteenth-century walnut framed pie safe from Tennessee with ebulliently painted and perforated doors, to an 1858 alkaline-glazed stoneware jar made, signed, inscribed, and dated by David Drake, the famed potter of the Edgefield District of South Carolina.
After the hoopla of Americana Week and the glitter of the Winter Show, the art connoisseurial scene in New York takes takes a decidedly soigné turn with the Master Drawings program.
The rise of the neoclassical style in American decorative arts in the early decades of the nineteenth century coincided with a collective national sigh of relief.
A Q+A with Nantucket Historical Association curator Michael Harrison