Proposing an alternative reading of the mid-century international art scene, Americans in Paris: Artists in the City of Light, 1946–1965 features works by visual artists who rejected the intense nationalism that arose in the U.S. in the 1950s.
Metamorphoses: Ovid According to Wally Reinhardt is the largest solo museum exhibition of this New York-based octogenarian artist. Since the 1980s, Reinhardt has exclusively depicted scenes from Ovid’s Metamorphoses, creating vivid, whimsical illustrations in colored pencil, watercolor, and gouache that recount the Roman poet’s time-honored myths.
Criminal Files In the 1930s, Franklin D. Roosevelt gave J. Edgar Hoover unprecedented powers to fight the kidnappings, killings, crime bosses, and criminals that flourished at that time. Hoover countered the magnetism of such crime figures as “Pretty Boy” Floyd, Bonnie Parker and Clyde Barrow, John Dillinger, “Machine Gun” Kelly, and “Baby Face” Nelson with […]
John Singer Sargent, Draughtsmanfeatures more than 90 works on paper from the Corcoran Gallery of Art in Washington, D.C., which has one of the most comprehensive collections of Sargent's works on paper.
Rudy Burckhardt and Friends: New York Artists of the 1950s and '60s provides an insider's glimpse into the downtown Manhattan scene during these two decades central to the development of postwar American art.
Cosmopolitan and erudite, Albert Eugene Gallatin, George L.K. Morris, Suzy Frelinghuysen, and Charles B. Shaw were committed artists, passionate patrons, and close friends.
Contemporary artworks take many forms, at times even disappearing altogether. In 1969 cows grazing in a Napa Valley pasture licked away Lot’s Wife, a salt-block sculpture by Paul Kos.
Diebenkorn in New Mexico: 1950–1952 brings together approximately fifty paintings and drawings from this period for the first time.
In the early 1990s, many aspiring San Francisco artists lived and worked in the Mission District, a gritty, low-rent area of the city. Among them were San Francisco Art Institute undergraduates Alicia McCarthy, Barry McGee, and Ruby Neri, along with friends Chris Johanson and Margaret Kilgallen.
Art for Every Home explores how Associated American Artists (AAA) dramatically expanded the market for art in the United States. In 1934 Reeves Lewenthal, an enterprising businessman, convened a group of artists, including Thomas Hart Benton, John Steuart Curry, and Grant Wood, to produce prints for him to sell to the public at affordable prices. Tracing AAA’s trajectory from its beginnings as a renowned print publisher, to its expansion into advertising and interior decor, to its eventual demise in 2000, the first-ever comprehensive survey to focus on this remarkable company illuminates how it inspired and cultivated American collectors for more than sixty years.