"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.
For adventurous artists of the late nineteenth-century, Paris was the center of the universe. For the most avant-garde of the artists, it was the hilly district of Montmartre, in northern Paris that was the epicenter. Counter Culture recreates the heady atmosphere of Montmartre nightlife at the fin-de-siècle when raucous, irreverent artists, writers, performers, and composers […]
Throughout history, artists have sought new ways to tell stories through visual means. Comprised of works from collections at the Blanton Museum of Art at The University of Texas at Austin, Storied Past presents French perspectives on dramatic narrative from the 16th through 19th centuries.
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 […]