A new publication explores a subject rarely addressed by design historians: how was time experienced by Britons in the early modern period?
Openings and Closings: September 30 to October 6
Check out what’s going on this week online an in person at museums around the US!
Openings & Closings: Exhibitions, Shows, Fairs 2/12/20–2/18/20
See what’s going on this week in the art and antiques world
Homage to Ruskin at Yale
Ruskin would publish prolifically until his death in 1900, in the fields of art (five volumes of Modern Painters), architecture (The Stones of Venice and The Seven Lamps of Architecture), even a treatise on economics, Unto This Last, from which an encyclopedic exhibition at the Yale Center for British Art, celebrating the bicentennial of the critic’s birth this year, takes its name.
At Yale, an Enlightenment Lode
The Yale Center for British Art’s new show William Hunter and the Anatomy of the Modern Museum asks us to abandon borders. Not borders between countries and people, but the walls in the mind built by group-think and obsessive, constipating specialization.
A painted brag at the Yale Center for British Art
The Paston Treasure: Microcosm of the Known World at the Yale Center for British Art
Handle with Care #4
The fourth installment of our web-only column on ceramics and glass.
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.”
The Yale Center for British Art Reopens
The Library Court of the Yale Center for British Art, following its recent reinstallation. Photograph by Richard Caspole. Traditional architecture can age gracefully but nothing is more dispiriting than modernism gone to seed. That may be especially true of Louis Kahn’s work because Kahn hid nothing; it was part of his bravery, and his ethics, to put every …
from The Magazine ANTIQUES, January/February 2011 | In 1948 Josiah Wedgwood and Sons commissioned printmaker and author Clare Leighton to make wood engravings for a set of twelve plates depicting New England industries. Leighton was in many ways a perfect choice with strong appeal to audiences in both England and the United States. She had established her reputation in Britain …
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