A profile of the artist.
The fifteenth-century Italian artist Fra Angelico invented emotional interiority in art
Edouard Manet’s notion of beauty changed starkly near the end of his life. Who determines what is or isn’t beautiful? And why are we so drawn to it?
How close, really, is the link between art and society?
An exhibition at Paris’s Musée d’Orsay centers on a black model named Laure in Édouard Manet’s Olympia and reinterrogates the role of black people in art history.
What does Jean-Léon Gérôme’s 1866 painting ‘Slave Market’ say about today’s extremist politics?
An exhibition at the Institut du Monde Arab in Paris explores a century of shifting Arab power through the lens of soccer.
How a petition to remove the artwork has raised questions of censorship and the “infiltration” of American identity politics
Can a Museum for ‘Progressive Artists’ Have an Arms-Manufacturer Vice-Chairman?
Pierre Bonnard’s revolutionary and controversial use of color became a means toward unlocking his past and the truths of his own self. But what if, ultimately, there was nothing to find? For years, Pierre Bonnard juggled the love of two of his models. The women were Marthe de Méligny, who would eventually become the artist’s wife, and Renée Monchaty, who would kill herself in spurned grief. In Young Women in the Garden, Bonnard painted them both. They are in a bourgeois backyard garden, like something out of a Renoir or Manet, at a large table adorned with a basket of fruit. Monchaty is the focal point of the scene. She sits in a chair, turned toward the viewer; her head rests innocently in her hand. She appears contented, at ease. In the bottom corner of the scene, looking not at the viewer but toward Monchaty, De Méligny looks quietly bemused, her profile nearly cut out of the frame. Bonnard ultimately left Monchaty for De Méligny. Sensing that his marriage to De Méligny was imminent, and that …