"Make Way for Berthe Weill: Art Dealer of the Parisian Avant-Garde" surveys the groundbreaking career of the first modern woman art dealer. Berthe Weill (1865–1951) championed many fledgling masters of modern art early on—such as Pablo Picasso, Henri Matisse, and Amedeo Modigliani—as well as numerous others who did not achieve wide acclaim.
"Americans in Paris: Artists Working in Postwar France, 1946–1962" is the first major exhibition to examine the historical impact of the expatriate art scene in Paris after World War II, and delves into the various circles of artists who made France their home during an era of intense geopolitical realignment. This international loan exhibition showcases some 130 works by approximately 70 artists, providing a fresh perspective on a moment of creative ferment too often overshadowed by the contemporaneous ascendancy of the New York City art scene.
When Time Began to Rant and Rage: Figurative Painting from Twentieth- Century Ireland examines the intersections between painting and politics and between Irishness and internationalism in Irish painting of our century.
In Switzerland, as in much of the world today, art is increasingly photographic. Abandoning the notion of the artwork as a self-contained, autonomous object, many contemporary artists use photography to document and comment on life around them. New technologies—including digitization and speedier methods of enlargement, editing, and reproduction—have helped break down the division between a […]
Surveying the evolution of artists’ posters in the German Democratic Republic (GDR) during the decades preceding reunification in 1989, Künstlerplakate ranges from early examples of the late 1960s to the rich and varied highpoint of the late 1980s.
Like a good conversation, it takes two to make a portrait. Something special arises when artists depict their sitters or, in the case of self-portraits, themselves. Many times, however, portraits initially are judged by their ability to capture and evoke a sitter’s likeness. Yet the mirroring capacity of portraiture constitutes just one facet of its […]
In the last fifteen years, there has been a prevailing attitude in the United States that contemporary French Art was either non-existent or not of sufficient quality to be viewed on par with the art of other European, Asian, and North-American artists. Consider the recent article that appeared in The New York Times, 1/14/96; its […]