FEATURES | Imogen Tedbury on Botticelli’s bling; Kirsten Tambling on Fabergé’s fabulous baubles; Susan Moore visits the dealer and decorator Robert Kime in London; Jo Lawson-Tancred asks whether machines can do art history.
REVIEWS | Susan Owens on Constable’s late works in London; Kelly Presutti on 18th-century British glassware in Corning; Donal Cooper on Italian Renaissance altarpieces; Christopher Turner on Frank Lloyd Wright; Thomas Marks on Tiepolo’s gnocchi-munching Punchinellos.
Visiting Paris Museums: The Centre Pompidou & Bourse de Commerce I’m bringing you with me to see two incredible museums in Paris – The Centre Pompidou & Bourse de Commerce. The Centre Pompidou has one of the best contemporary art collections, and the Bourse de Commerce has an exciting group of artists on view right now including (but not limited to) Urs Fischer, Claire Tabouret, Florian Krewer, and more.
In this video, join Thomas Boyd-Bowman in an exploration of Pierre-Auguste Renoir’s Jeune fille à la corbeille de fleurs, a highlight of Sotheby’s Modern Art Evening Auction in November. Painted at one of the finest moments in Renoir’s career, Jeune fille à la corbeille de fleurs radiates with color and embodies the masterful portraiture for which he is best remembered. It was first acquired by the legendary art dealer Paul Durand-Ruel and later purchased by Dr. Albert Barnes of the esteemed Barnes Foundation, only to be returned to Durand-Ruel a few years later. With this extraordinary provenance, this painting exemplifies the triumph of impressionism from the perspective of artist, dealer and collector.
‘The Scream,’ arguably the most iconic image in art, is the centerpiece of a new museum dedicated to its creator Edvard Munch in Oslo.
Munch Museum is an art museum in Oslo, Norway dedicated to the life and works of the Norwegian artist Edvard Munch. As of the summer of 2021, 28000 pieces of art are being moved from the museum at Tøyen, to the museum at Bjørvika, Oslo.
Alex Roediger, MoMA’s senior information coordinator, looks at Helen Frankenthaler’s “Jacob’s Ladder” (1957) with a painter’s eye, and finds that “more paint” isn’t always the key to making a dramatic statement—even in Abstract Expressionism.
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