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.
For sheer variety of form, color, period, and place of origin it is difficult to match the offerings at the annual New York Ceramics Fair, where thirty-three tightly packed booths represent virtually everything in the world of fired clay-from purely utilitarian objects to those meant solely for aesthetic contemplation. Most of the dealers are from the United States, though there …
* Sotheby’s New York/November 2, Russian ArtThe sale total was just under $13.8 million, with 98 of 122 lots sold. The top lot was Boris Dmitrievich Grigoriev’s Mother and Child that sold for $1.3 million (estimate $500,000-700,000). Other top lots were an award portrait miniature of Peter the Great that sold for $1.3 million (estimate $80,000-120,000), and Konstantin Alexeevich Korovin’s …
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