In Connecticut, the Greenwich Historical Society has finally been able to mount Life and Art: The Greenwich Paintings of John Henry Twachtman.
How Frank Duveneck fostered the rise of a new painting genre in the coastal Massachusetts town of Gloucester
A pair of recent exhibitions prompts a new look at the eminent French postimpressionist
Museums in Boston and Chicago plan for exhibitions that demonstrate the two cities’ shared love of the French Impressionist
A cultural institution of transcendent richness and breadth, the Metropolitan Museum of Art in New York enters its sesquicentennial year
The painter Mary Rogers Williams, a baker’s daughter from Hartford, Connecticut, may be the only nineteenth-century woman artist whose thoughts and feelings are almost fully known.
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.’ ”
A new exhibition at the Met examines the glad spirits of the impressionists and others en plein air
Frédéric Bazille at the National Gallery of Art.
The term “old school” could almost have been invented to describe the Vose Galleries, that venerable Boston art institution now celebrating its 175th year in business. In honor of that almost unprecedented milestone for an art gallery, the two owners, Abbot “Bill” and Marcia Vose, who have been married for forty-four years, have decided to put on display a selection of their private collection of American impressionists, assembled over the past four decades, as part of an exhibition titled Crosscurrents: The Colonies, Clubs & Schools That Established Impressionism in America.
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