Built by a Hungarian, named for an eighteenth-century house he owned in London, lent after his death to a museum in Berlin, and now residing at the Dallas Museum of Art—the Keir Collection of Islamic Art is the epitome of global cultural exchange even before you consider its contents.
A glimpse of the possible future of museum displays of historical artifacts can be seen in the recent opening of the Art Institute of Chicago’s Deering Family Galleries of Medieval and Renaissance Art, Arms, and Armor.
A body of work that has received scant attention from collectors is on view this spring at the National Gallery of Art.
“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.”
Like his art, Bearden’s life was about changes of context.
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.
Zinelli painted for up to eight hours a day, producing nearly nineteen-hundred works of art.
Kentucky by Design: Material Culture, Regionalism, and the New Deal at the Frazier History Museum in Louisville is an exhibition eighty years in the making. The show examines the never-before-seen work of Kentucky artists who contributed to the Index of American Design, part of the New Deal’s Federal Art Project.
A new exhibition opening January 27, 2017 at the Fairfield University Art Museum in Connecticut aims to restore some luster to Adolf Dehn’s name.
Flood, fire, earthquake, drought…few things capture the collective imagination more than the subject of disaster.