From a Wall Street Journal article:
That’s how I felt while visiting “Homer at the Beach: A Marine Painter’s Journey, 1869-1880,” an intimate exhibition at the Cape Ann Museum. The show is handsome, historically rich and perfectly positioned here at this harbor venue, which devotes galleries to regional maritime and fishing artifacts, local decorative arts, Gloucester sea captain Elias Davis ’s house and the works of the renowned illustrator and marine painter Fitz Henry Lane (1804-1865), a Gloucester native with whom Boston-born Winslow Homer (1836-1910) had much in common.
An illustrator and painter, Homer is chiefly celebrated for his mature paintings of life on or near the sea. “Homer on the Beach” was never intended to be a gathering of Homer’s greatest maritime works. Therefore, it does not contain those revered later masterpieces such as “The Life Line” (1884), “The Herring Net” (1885) and “The Gale” (1883-93), but it lays their foundations and illumines the first leg of his voyage. Curated by William R. Cross, a museum consultant and chairman of the Advisory Board of the Yale Center for Faith and Culture, the show focuses on Homer’s artistic formation as a marine painter.
To read more: https://www.wsj.com/articles/homer-at-the-beach-a-marine-painters-journey-1869-1880-review-flotsam-jetsam-handsome-11567249200
From the top floor of a 1920s building in Hackney, in the East End of London, Favre’s confidence is at a peak. The bold, graphic style she has developed over the last fifteen years attracts prestigious projects. When she was invited to design the poster for this year’s Montreux Jazz Festival, held every summer in Switzerland since 1967, she became part of a group that includes Milton Glaser, Andy Warhol and Keith Haring. Her poster is full of female silhouettes dancing, the negative spaces between them forming instruments.
Favre is a French artist based in London.
This focused installation features pastels by four artists whose work was shown in the Impressionist exhibitions: Mary Cassatt, Edgar Degas, Eva Gonzalès, and Berthe Morisot. Their subjects range from scenes of modern life, such as ballet performers and a woman working in a hat shop, to depictions of intimate moments of bathing and women with children.
Pastel, a medium used to draw on paper or, less often, on canvas, is made by combining dry pigment with a sticky binder. Once artists have applied the pastel to the surface, they can either blend it, leave their markings visible, or layer different colors to create texture and tone. Pastel portraits had previously gained popularity in France and England in the 18th century, but fell out of fashion with critics when pastel was deemed too feminine; not only was it used by women artists, but it had a powdery consistency similar to women’s makeup. The Impressionists rejected this bias and instead embraced the medium’s ability to impart immediacy, boldness, and radiance.
To many nature photographers, no muse is quite as magical as a field of flowers. This tried and true subject is particularly popular with aerial photographers, whose atmospheric shots allow us to explore the mesmerizing meadows from soaring perspectives. One photographer taking this trend to new heights is 
Patty Smyth & her band Scandal
I have always loved the ocean and also photography. I started taking pictures as a teenager and was very inspired by black and white masters like Ansel Adams and 
The Huntington’s 
James Wood: These Etonians
Tissot consistently defied convention in both his professional and personal life. His contributions to the academy and the avant-garde are documented by participation at diverse venues such as the Paris Salon as well as London’s Royal Academy and the Grosvenor and Dudley Galleries. This exhibition explores his multifaceted career with a fresh perspective and original scholarship and will also question where and how Tissot should be situated in narratives of the nineteenth-century canon.
Dubbed “The Father of American Surrealism,” Clarence John Laughlin (American, 1905-1985) was the most important Southern photographer of his time and a singular figure within the burgeoning American school of photography. Known primarily for his atmospheric depictions of decaying antebellum architecture that proliferated his hometown of New Orleans, Laughlin approached photography with a romantic, experimental eye that diverged heavily from his peers who championed realism and social documentary.
The exhibition surveys Laughlin’s signature bodies of work made between 1935 and 1965, emphasizing his inventiveness, artistic influences, and deep connection to the written word. The High began collecting Laughlin’s work in 1974 and Strange Light: The Photography of Clarence John Laughlin is the first major presentation of Laughlin’s photographs by the High Museum following a landmark acquisition of his work in 2015.
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