To modern sensibilities, Frederic Edwin Church’s field sketches and early studies, with their virtuoso spontaneity and unmediated naturalism, may have more appeal than his epic paintings.
Mary Lee Bendolph’s designs are stunning works of contemporary design, lacking any taint of provincialism, with as much visual sophistication as you would find in any New York gallery.
The delightful Wadsworth installation is a fitting setting for the beloved artist and illustrator and the work he himself loved.
There are no angels in Mark Rothko’s work: only the ascendancy of glorious color.
Nothing of value, it seems, was out of the reach of J. Pierpont Morgan’s acquisitive grasp.
The premise of the show, and especially the catalogue, is to put Corita Kent her rightful place in the pantheon of major American Pop artists
In Van Gogh and Nature, human beings play a supporting role. Sometimes moths, butterflies, and poppies are the stars.
In Arlene Shechet’s mischievous hands, the medium’s power as a shape shifter runs wild.
Walking, the deCordova’s fascinating and wonderfully worked out exhibition suggests, is deeply subversive of the status quo.
While American art grew bolder, larger, louder, and more ironic, David Aronson was mystical, introspective, and poetic.