I wanted to show that antiques have something to say, not only about their own moment—in the more or less distant past—but also about our own.
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.
While in New York recently, Stan Mabry, a fine arts dealer, did a double take. He saw a painting that he had known of for many years, but only as the centerpiece among many works of art in a black-and-white photo of a Paris studio in the 1890s.
An exhibition in 1876 at Paul Durand-Ruel’s gallery in Paris drew ridicule from art critic Albert Wolff, who warned readers of Le Figaro: “Here five or six lunatics, one of whom is a woman . . . have gotten together to work. These self-styled artists call themselves ‘Impressionists.’ ”
Though it’s a distinct handicap when a major retrospective of a great artist is missing one of his best—and certainly best-known—paintings, it says something that the exhibition Delacroix at the Metropolitan Museum of Art in New York loses little of its force despite the fact that July 28, 1830: Liberty Leading the People stayed home at the Louvre.
Combine the artistic sensibilities of the Bayeux Tapestry with the epic scope and milieu of Moby-Dick, add a dash of Barnumesque showmanship, and you get The Grand Panorama of a Whaling Voyage ’Round the World.
A body of work that has received scant attention from collectors is on view this spring at the National Gallery of Art.
The refurbishment of an 1855 theater and arts center is the latest milestone in the renaissance of Hudson, New York.
Andrew Jackson and three Philadelphia cabinetmakers.
Photography by Paul Rocheleau| from The Magazine ANTIQUES, December 2009. | When you visit Janet and Lawrence Larose’s New York dining room, you are surrounded by hundreds of objects designed by Christopher Dresser. They are artfully arranged on a series of shelves: teacups perch on lily-pad saucers; frogs leap around a bowl; butterflies flit across cloisonné skies; and cranes are buffeted …
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