Though his fashion and textile designer son of the same name has more cachet today, the Spanish artist Mariano Fortuny was one of the most acclaimed and influential painters of the nineteenth century.
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.
In Phoenix, a Revelatory Agnes Pelton Show
The painter Agnes Pelton took inspiration from esoteric philosophies and becomes another early twentieth-century woman abstractionist receiving her due.
Pastoral Imperfect
A current exhibition examines American art old and new through the lens of the environment
King Arthur Comes to Florida
During the age of chivalry, armor was a necessity in times of both war and peace. In battle, a sturdy breastplate might have been the only thing keeping a knight from mortal harm at the point of a lance.
Lassie Comes Home
The AKC’s Museum of the Dog returns to New York
Cast in a New Light
An exhibition at the Frick Collection offers a chance to reassess the art o f Renaissance portraitist Giovanni Battista Moroni
Visions of Vincent
A new exhibition at the Museum of Fine Arts, Houston and two current films testify to our enduring fascination with van Gogh’s life and art
City Folk
A new exhibition at the American Folk Art Museum explores the relationship between commerce and folk art in old New York
At the Palmer: John Sloan and His “wonderful roofs”
The term “Ashcan school” is applied to artists as varied as Robert Henri, William Glackens, and Everett Shinn, and yet it was most likely coined in response to one particular member of their circle and his work: John Sloan, with his warm and sympathetic depictions of the life of the common man in New York in the decades after the turn of the twentieth century.