Creating an American style in the 1920s.
All along the watchtowers at Yale
“From being the homes of great lords in the Middle Ages to being either homes of modern aristocrats or ruins (many castles were destroyed during the English Civil War), castles became both symbols of democracy and warnings to aristocrats that you had to always respect the power of the people.”
Shattering Effect
A new exhibition celebrates the Crystal Palace and the New York World’s Fair of 1853.
A Romare Bearden survey at the Taubman
Like his art, Bearden’s life was about changes of context.
A hallucinatory Old Master at the Met
The Flemish artist Hercules Segers—now the recipient of his first exhibition in America, on view at the Metropolitan Museum of Art in New York—was probably the oddest European painter and printmaker of the seventeenth century.
Pocket-size punch
These tiny triumphs speak to human ingenuity, boundless reservoirs of patience, and painstaking craftsmanship in efforts where the slightest error will ruin the whole.
Dispatch 5: A New York Odyssey
The fifth edition of Dispatches, a new sporadical email newsletter about the arts of the past as they live in the present day by Elizabeth Pochoda, Advisory Editor, The Magazine ANTIQUES.
Mad Scientist
The strange, protean artistry of Eugen Gabritschevsky.
“My native continent”
Maine’s influence on the art of Marsden Hartley.
An art brut debut at the American Folk Art Museum
Zinelli painted for up to eight hours a day, producing nearly nineteen-hundred works of art.